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Mar 20-April 2 1980 Vol 2 No. 6

First of all, a big hi to all newreaders of Smash Hits, andwelcome to the magazine that

brings your vinyl alive! A warmwelcome back too to all our muchloved regular readers. In addition

to all your usual news, features

and chart songwords, we've gotsome extras for you— your free

record, a mini-P/ as crosswordprize— as well as an extra songand revamping ourreviews/opinion section. We'vealso got a brand new regular

feature starting this issue—regular coverage of theindependent label scene (on page26) plus the results of the SmashHits Readers Poll which are onpages 1 4 and 1 5. And If that's notenough for you, then for news of

the next big freebie from Britain's

most generous music magazine,turn to the inside back pagewhere ALL WILL BE REVEALED . . .

¥•

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Managing EditorNick Logan

Editor

Ian Cranna

Features EditorDavid Hepworth

Design EditorSteve Bush

Design AssistantAndy Ingamells

Editorial AssistantsBev Hillier

Diane ChurchContributorsCliff WhiteRobin Katz

Red Starr

Fred Dellar

Mike StandKelly Pike

Jill Furmanovsky

Advertisement ManagerRod Sopp

Tel: 01-439 8801

Editorial ManagerPaul Flint

Editorial and Advertisingaddress: Smash Hits, Lisa

House, 52-55 Carnaby Street,

London W1V 1PF.

This magazine is publishedby EMAP National Publications

Ltd, Peterborough, and is

printed by East Midland Litho

Printers, Peterborough.Copyright exists on all songsappearing in Smash Hits. They

must not be reproducedwithout the consent of the

copyright holders.

ECHO BEACHMartha &The Muffins 4

ANOTHER NAIL IN MY HEARTSqueeze 4

GOING UNDERGROUNDThe Jam 5

ATOMICBlondie 6

HELLO I AM YOUR HEARTBette Bright 13

ROSIEJoan Armatrading 13

KOOL IN THE KAFTANB. A. Robertson 16

YOU KNOW HOW TO LOVE MEPhyllis Hynnan 19

POISON IVYThe Lambrettas 23

HAPPY HOUSESiouxie & The Banshees 24

WARHEADU.K. Subs 25

THE MAN WITH THE CHILD IN HIS EYESKate Bush 29

WORKING MY WAY BACK TO YOUDetroit Spinners 36

TONIGHT I'M ALRIGHTNarada Michael Walden 36

THE OLYMPIANThe Skids 39

TEN FEET TALLXTC 39

ANDY SUMMERSFeature & Colour Photo 7-9

GARY NUMAN: Colour Centrespread .20/21THE VAPORS: Feature 22/23KATE BUSH: Colour Photo 29JOHN FOXX: Feature 32/33THE SKIDS: Colour Poster 40

BITZ 10/11/12 INDEPENDENT i

POLL RESULTS 14/15 LABELS 26|

PRIZE CROSSWORD 17 STAR TEASER 28 I

DISCO 19 REVIEWS 30/31LETTERS 34/35GIGZ 38 I

SMASH HITS 3

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The case was pulled from under the bedShe made a call to a sympathetic friend

And made arrangementsThe door was closed, there was a noteI couldn't be bothered.

Maybe I'll choke no more engagements

With where have you beens and far away frowns

Trying to be good by not being roundAnd here in the bar the piano man's foundAnother nail for my heart

And here in the bar the piano man's found !

Another nail for my heart

That stupid old bug, that kills only love

I want to be good, is that not enough?So play me the song that makes it so toughAnother nail for my heart

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Then play me the song that makes it so toughAnother nail for my heart

'

I had excuses, those little boy lies

That she computed by watching my eyes

And told me firmly

She couldn't stand it, I'm bad on the heart

She dropped her make-up and I found the bar

Now it concerns me

I've had a bad time, my love has resigned

I've been such a fool, I've loved and goodbyed «

So here in the bar the piano man's foundAnother nail for my heart

And here in the bar the piano man's foundAnother nail for my heart

And here in the bar the piano man's foundAnother nail for my heart KAnd here in the bar the piano man's foundAnother nail for my heartAnd here in the bar the piano man's foundAnother nail for my heart

Words and music by Glenn Tilbrook and ChrisDifford

Reproduced by permission of Flondor Music(London) Ltd/Deptford Songs

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Echo BeachBy Martha and The Muffins on Dindisc

Records

I know it's out of fashionAnd a trifle uncoolBut i can't heip it

I'm a romantic fooi

K's a habit of mineTo watch the sun go downOn Echo BeachI watch the sun go down

From nine 'till five I have to spend my time at workMy Job is very boring, I'm an office clerk

The only thing that helps me pass the time awayIs knowing I'll be back at Echo Beach someday

On a silent summer eveningThe sky's alive with lights

A building in the distanceSurrealistic sight

On Echo BeachWaves make the only soundOn Echo BeachThere's not a soul around

From nine 'till five I have to spend my time at workMy job is very boring, I'm an office clerk

The only thing that helps me pass the time awayIs knowing I'll be back at Echo Beach some day

Echo BeachFar away In timeRepeat to fade

Words and music by Mark GaneReproduced by permission of Dinsong Ltd.

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AtomicBy Blondie on Chrysalis

Records

Uh, huh. make me tonight

Tonight, tonight

Oh uh huh, make it magnificent

Lthow your hair is beautHu.

Ah, tonight

Atomic

Uh huh, make me tonight

Ah, oh, your hair IS

Ah, tonight

Atomic

Tonight, make it magnificent

Tonight, make metonight

Your hair is beautiful

Oh, tonight

Atomic, uh huh

Atomic, uh huh

Repeat to fade

EMI Music Publishing Ltd.

The Motors.

Tenement Steps'.

Haveyou heard

it yet?

V2151

6 SMASH HITS

ANDYSUMMERS

Fifteen years in Rocic 'n' Roll. Is it just a passing phase? David Hepworth thinks not.

^F STING is the face and voice of

The Police and Stewart Copelandis its heart then Andy Summersis, more than anyone else, thearchitect of their distinctive

sound. Before Andy came along.

Sting and Stewart readily admit,they were just another band, it

was Andy's experience and ear

that set out their direction.

A small, slender man in his

mid-thirties, Andy lives with his

wife and year old daughter Layla

in a scrupulously tidy mansionflat in South-West London. Forthe first time in his fifteen yearcareer he is financially secure.

One room is given over to his

numerous guitars and musicmaking paraphernalia. Theshelves in the living room are

packed with serious looking

volumes on art and music, therecord racks lined with jazz andclassical albums.He perches himself tidily on

the edge of the sofa and mullsover the questions carefully,

responding with the enthusiasmof a beginner, only occasionally

betraying the length of his career

with a slightly worldly-wiseedge.

THROUGH THE mill. That's

where Andy Summers has been.Compared to him, his twocolleagues are whippersnappers,upstarts. Before most Police fanswere born he had left his

Bournemouth home to come toLondon and join Zoot IVIoney's

Big Roll Band, a respected whiteR&B ensemble who wereenormously popular on thecapital's dub scene.

It was the heyday of mod andbands who could crank outexciting versions of obscure soul

classics found work easily. Andyrecalls weeks when they woulddo up to thirteen gigs— tworegular shows, two all-nighters

and one Sunday afternoon set all

in one weekend.ft was hectic but he learnt his

trade, developing theprofessional's ability to pick

things up quickly and to keepmistakes to a minimum. In return

for all this blood, sweat andcraziness he was well paid.

Barely eighteen, he was earning£90 a week— a great deal of

money in pre-inflation Britain.

The band only had one hit,

"Big Time Operator" whichreached No. 25 in August 1966,

but they were a name. Whenpyschedelia came along in 1967,

they underwent a sweepingchange of image and emerged as

Dantalian's Chariot, all kaftans

and long wandering solos. Theywere unlucky, it didn't work andthey broke up.

Andy took his guitar and joined

the original line up of SoftMachine, a jazzy avant gardeband who enjoyed a greatreputation but never sold

records. With them he made his

first trip to America, eventually

leaving the band over there andrejoining Zoot Money, this timein a later version of The Animals.As a result, Andy lived in Los

Angeles during the height of thehippy era, toured all overAmerica and got as far as Japan."Had a great old time," he

recalls fondly.

When that band ground to a

halt, Andy recorded his own solo

album which was never released.

His manager promptlydisappeared, taking his moneyand the tapes with him."Do you really want to know

all this stuff7" asks Andy. "It's abit of a sob story."

Briefly disillusioned with themusic business, Andy thenremained in Los Angeles andworked for a while as an actor in

fringe theatre groups, eventuallyenrolling at college to studymusic for nearly four years.

During his time there he more orless abandoned electric guitar

and wrestled with the classical

form.Leaving college he played

around the area in various outfits

— including one genuineMexican band— before decidingto go back to Britain and return

to rock and roll.

Arriving back in the old

country, penniless and withoutany real contacts he was luckyenough to bump into old friend

Robert Fripp (of King Crimson)who put him in touch with Neil

Sedaka, at that time looking for

musicians for an extensiveBritish tour.

Sedaka lent him three hundredpounds to buy a new amplifier

and put him on the payroll. This

stint was followed by periods in

the David Essex Band, The KevinCoyne Band, and then with KevinAyers.Then on May 28, 1977, while

helping out with a Gong reuniongig in Paris, Andy met Stewartand Sting. A month later he hadjoined The Police as secondguitarist. By August Henry

Padovani had departed and theywere three.

Yes folks, it is thateasy to be arock and roll star!

IT SEEMS curious that amusician from the old guardshould take so readily to theplans that Stewart and Sting

were formulating at the frenzied

studio and started to hearheight of the new wave. A lot ofpeople of Andy's generation justpoured scorn on it all.

"I lilced it because thereseemed to be so much challengeIn what they were doing.Stewart was buzzing all roundLondon sticking up posters,getting the records made onIllegal and it was just a real buzz.

"I picked up on it because— in

a scene that had become veryjaded and tired— there was thisfantastic energy, it was whatrock music was about. It was thereal thing and I was inspired byit."

If The Police had not comealong at that time do you thinkyou would still be a musicianplaying the same kind of music?"No, I don't think I would

because I was getting prettydisillusioned with it all and I wasstarting to look at thealternatives. I didn't want to be asession musician at all."

But things didn't happenstraightaway for the new band.Andy recalls that in their first

year of existence. The Police didno more than twelve gigs andmost of them were such rottensupport slots they were barelyworth doing at all.

IVIanagers came and went."Fall Out" didn't sell and thethree of them picked up anywork they could get. Going toGermany from time to time towork with Eberhard Schoonerwas one of the more worthwhileactivities.

And so they rehearsed."We didn't want to sound like

a conventional three piece andthat's when we started to cottonon to reggae. It started fromthere and once we got into a

8 SMASH HITS

ourselves back then the soundstarted developing. Round aboutthe period that we recorded"Roxanne" we found a way to goand Sting started to write moresongs."The attraction of reggae was

the space. One of our bandmottos is 'less is more' and youcan certainly use that to effect Inreggae. It was a way of gettingaway from the sixties type thrashand doing something new. Wenever consciously set out to playreggae. But once we realisedwhat we were doing we wereable to develop it more as we'vegone on."

AS A capable, experiencedmusician were you resentful ofthe people becoming overnightstars in those days who couldn'tplay a note?

"I've never really consideredthat great music comes frompeople who reallycan play.Some of the most boring musiccomes from people who aretechnically proficient. On theother hand there areso manygreat records and trulyinnovative records tnat comefrom people who can't really playin the accepted academic sense.But they can express themselveson an instrument."There was a lot of very boring

punk music but I think therewere occasional flashes ofbrilliance."

Did you sense that the wholeteen idol thing was going tohappen?

"I think when we M^re reallycommitted to The PoQce we all

said to each other, wdll this is theperfect group . . . there are noweak links . . . we've just got to

sit it out. But the way it's gonehas exceeded our expectations. It

has rather caught us unawares."As somebody with more than

fifteen years' experience in themusic business behind him,someone who's seen hundredsof careers rocket upwards andthen fizzle out, Andy is in a betterposition than most to commenton just how long The Police havegot at the top. Sting is aiming atBeatles style world domination.How does the veteran see it?

"It's hard to predict. I don't seethis level of intense fandomgoing on for ever. I think that'stoo much to hope for but I thinkthe group itself has stayingpower."We're so new at it in a way—

we have so much to do as agroup yet— we feel we're onlyscratching the surface musically.Ifwe play our cards right we canlast years ifwe want to."

THE POLICE as a whole do theirbest to keep tabs on the scale oftheir business, wary of falling

into the old superstar traps ofbigger and bigger gigs, more andmore grandiose records andstrongarm business methods.Andy stresses that it's

important to study where all themajor bands of the last ten yearswent wrong, to remainreasonattly true to the ideals thatyou started out with. If there'sany sign of gangster methodsbeing employed to further theircareer (and this sort of thingdoes happen), Andy says he'll

walk out.

"One's enjoyment of playingdoesn't increase by playing to anextra two or three thousand. As agroup we've decided that twoand a half thousand in thiscountry is about as many as wewant to play to.

"On this last tour we made lessmoney by playing to morepeople because we needed amuch bigger P.A. and morelorries to carry it around. So in

future we'll probably try to keepto smaller halls but do twonights in each."When The Police were trying to

hustle gigs and make a nameduring the eariy days of punkthere were many who usedAndy's age and Stewart'smusical history as grounds fordisqualifying the band from theyouth revolution that was takingplace. Although Andy has a fundof stories regarding the real agesof many "punks", it still makeshim a little angry.

"Either you can get up thereand be vital and exciting andmake good records or you can't. I

don't see what age, past oranything has got to do with it.

Being eighteen doesn't give youcredibility or make you a goodmusician or help you makeoriginal statements. Mostlyyou're naive, idealistic and youdon't play that well . .

.

"I'm not a person to identifywith causes. And I think that one]of the reasons I've managed toget through quite a few years of

all this insanity and come out theother end and really hit the bigtime at a later stage is because I

haven't fallen for all the myths."One of the reasons people

start getting screwed up is thatthey fall for the myths and theromance of the rock scene andfall by the wayside. There are somany people who want to preyupon you, especially if you startbecoming a success."When you're young you get

carried away by everything butas you get a bit older you start tosuss these things out."

WITH THE exception of "Sally"on the first album, Andy'ssongwriting talents haven't hadmuch exercise in The Policealthough he has collaborated ona few tunes on the last album.Because he's content to write forSting, he's content to make hisown tapes with a view to apossible solo album sometimenext year.

He's generally suspicious ofproducers, most of whom heregards as leeches but doesn'trule out the possibility that theymay employ one In the future.Brian Eno is one candidate thatthe band are taking seriously.

At the moment Andy's busyenough guarding what remainsof his private life. When thephone rang during our talk hedidn't identify himself until hewas sure that the caller was abusiness associate.

"I do feel a bit self consciouswalking around," he admits."People start nudging each otherwhen you go in a shop. But I haveenough ego to enjoy it. I cansavour it really. It doesn't go onfor ever and I haven't suddenlybecome God because my facehas been in all these musicmagazines."Unless I was God before . .

."

A BIT OFCRUMPETHEY, BETCHA can't guess whereMartha And The Muffins met up!ART SCHOOL!! On!y difference is

this particuiar Art School was in

Ontario, Canada, not exactly themost fertile part of the worldwhere rock and roll is concerned.

Their original 1977 line up wasMartha Johnson (keyboards andvocals), Mark Gane (guitar), CarlFinkle (bass), Andy Haas (sax)and Mark's brother Tim on thedrums. They were later joined byanother Martha, Martha Ladly,who initially played guitar beforeswitching to keyboards andtrombone.

Their first single, "Insect Love"sold healthily around Ontario andby 1979 they'd worked upenough courage to travel to NewYork and attempt to break into

the big time. They sent a tape to a

New York journalist called GlennO'Brien who recommended themto new British label DinDisc.

"Insect Love", their first British

single, failed to make anyimpression on the charts but thefollow up, "Echo Beach", is doingconsiderably better and their first

album, "Metro Music", is causinga small stir, aided no doubt bytheir recent short British tour.

IN 1956 Alfred Werthalmer, a New York photographer, racaivadphone call from RCA Racordt. Thay had this young kid called ElvisPraslaywho was in town to do soma TV shows and they naadadsoma pictures taken. Black and white only; no colour In case haproved to be a flash in the pan.A year later Elvis's dictatorial managerTom Parker swooped on

RCA and removed all their pictures, making it clear that no furthershots ware to be released to the press without his say so. ButWarthaimar hung on to his snaps and he's finally collected thamtogether in a volume called EMs '58(Cassell £3.95).The shots In the book, together with the author's commentary,

conjure up a young. Incredibly attractive Presley playing on stage,hanging around in dressing rooms, fooling around with agirlfriend, taking part in chronic variety shows and relaxing athome In Memphis.For anyone whose only acquaintance with Presley dates from

the period of his sad decline, this book is a marvellous reminder ofthe young man who invented rock and roil and defined its style.

"POISON IVY", the song that's giving Sussex band The Lambrettastheir first taste of the charts, is not exactly a new composition.Written in the Fifties by famed songwriting duo Leiber and Stollerfor The Coasters, it's been periodically revived ever since mostsuccessfully by The Rolling StonesThe Lambrettas came to their record company, Rocket, via a

compilation album of unknown bands called "499 2139 '. Their firstsingle, "Go Steady ", went nowhere at the end of last year and sothey chose the old classic as a follow up Lead singer Jez Bird wasa bit dubious about the idea at first because he could only dimlyrecall the song from his childhood and thought it was a ratherrisque item called "Boys And Ivy"!

10 SMASH HITS

THIN LIZZY, complete with newguitarist Snowy White,commence their first tour of theEighties in May. They kick off atNewcastle City Hall on the first

and second of the month andcontinue with: Edinburgh Odeon(3), DundeeCairdHall(4),Glasgow Apollo (5), LiverpoolEmpire (7), Preston Guildhall (11),

Sheffield City Hall (12), StaffordBingley Hall (13), BrightonConference Centre (16), CoventryTheatre (17), Leicester DeMontfort (18), SouthamptonGaumont (20), Bristol ColstonHall (24), Manchester Apollo(25/26), London HammersmithOdeon (28/30), PortsmouthGuildhall (June 3), Oxford NewTheatre (4/5).

IDENTITYCRISISMy pa used to sing with adance band and I used my realname Declan when I startedsinging with a country bandcalled Flip City aroundLondon pubs. Since then I've

changed both my names,produced a 2-Tane debutalbum, sold an enormousamount of records and evenchucked around the oddbucketful of water on'Tiswas". If you scoot downto the bottom of Page 12 youmight find out who I am...

ALL TIMETOP TENJohn Foxx

/ can't really make anyspecific comments about thetracks below but they've all

been a source of pleasure for

me for different reasons at

different times.

1. THE BEATLES:Strawberry Fields

Forever (Parlophone)2. VELVETUNDERGROUND: WhiteLight White Heat/SisterRay(MGM)

3. KRAFTWERK: NeonLight/Franz Schubert(Capitol)

4. THOMAS LEER: PrivatePlane (Company)

5. ERIC SATIE: Trois

Gymnopedies (EMI)6. ENO: Music For Films

(EG)7. ROY ORBISON: It's Over

(Monument)8. MICK JAGGER: Memo

From Turner (WarnerBros)

9. THE SHADOWS:Wonderful Land(Columbia)

10. BOB DYLAN: Just LikeTom Thumb's Blues(CBS)andROXYMUSIC: Sunset (EG)

SIOUXSIE & The Banshees still

haven't found a permanentreplacement yet for departedguitarist John Mackay, so they'recurrently figuring on using nofewer than three temporary men.Magazine's John McGeochguests on the new "HappyHouse" single and the band areapparently also intending to useThe Cure's Robert Smith andinfluential veteran Robert Fripp.

SHAMDATESSHAM 69 are putting together ashort tour for the month of Aprilto promote their new album anda single called "Tell TheChildren". Dates so farannounced are; Cardiff Top Rank(April 13), Sheffield Top Rank(14). Bournemouth Stateside (15),Withornsea Grand Pavilion (17),Blackburn King George's Hall

(18), Birmingham Top Rank (20)and Manchester Apollo (21).

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STILLSHAKIN'EVER SINCE the late sixties,

when he first took to playing hisfavourite music, traditional

rock'n'roll, Shakin' Stevens hasbeen moulded into just aboutevery shape but his own.

He's been presented as somekind of Welsh greaser, aprofessional Elvis impersonator,an all purpose Fifties sex symbolon TV's "Oh BoyI" and almosteverything in between. Thenfinally he lands a proper solo dealwith Epic only to find producerMike Hurst intent on putting himin the Showaddywaddy slot.

After a trio of singles whichnever saw the chart. Shaky tookmatters in his own hands and, in

close collaboration with bassplayer and rock'n'roll broadcasterStuart Colman, set about makingan album that he wouldn't beashamed to play in company."Take One" is the result and "HotDog", the current single, gives ataste of what it's all about.Shakey refuses to see it as

nostalgia; "I hate all this talk

about revivals— this music neverwent away." If you're looking forparallels, then he might quoteCreedence Clearwater Revival orRockpile at you. He agrees that it

was music made as if the Sixtieshad never existed.

Shakey's band The Sunsetsbroke up three years ago after

many years delighting live

audiences but without anyserious vinyl success— despiteone glorious Dave Edmundsproduced album (recentlyreissued as "Legend"). Followingtheir demise, Shakey waspersuaded to take part in the"Elvis" musical which ran for twoyears in London's West End.As one of the three singers

depicting Elvis, he played theman during his most fertile

period, before the cheeseburgersand pills got to him. It was whenthe show finally closed thatShakey moved on to become afixture on "Oh BoyI"Although utterly aedicated to

Fifties rock'n'roll, he's wary of thenarrowness of many of themusic's disciples.

"A lot of them treat the musicas if it's their personal property.Y'know, it's my front room andyou can't come in here. That's

aive Langerand JimWhlttaKW.

WITH THE currant chart success of tha axcallant "Hallo, IAm YourHeart , Betta Bright bacomas tha third former mambar of DaafSchool to make it in har own right. Batta (real name Ann Martin)comas from Liverpool and attended tha local Art Collage where thaband was founded in 1974.

After tha original fifteen strong line up was trimmed down to amora manageable eight, a friand entered tham in tha MelodyMaker Rock Contest which, to thair surprise, they won, havingalready landed a major recording contract with WEA.After cutting three albums, "Second Honeymoon", "Don't Stop

Tha World" and "English Boys, Working Giris ", without anycommercial success, thay want their separate ways. Guitarist CllvaUngar took up production, most notably on the first Madnessalbum, and is about to release his first solo album with his bandThe Boxes on Ehrls Costallo's F-Baat label. (Tha Boxes, Incidentally,include Ban Barson, alder brother of Mike from Madness).Bassman Stave Lindsey (known In Deaf School as Mr Average)

formed The Planato, who hK last year with "Lines" while singerSteve Allen (formerly Enrico Cadillac Jr.) is currently to be foundfronting new band Original Mirrors.

"Hallo I Am Your Heart" is Batta's third single but her first on tha^Korova label. Tha previous two. "My Boyfi-land's Back" and'Cjpt«in Of Your Ship", appeared on Radar and racaivad asuffidantly encouraging recaption to warrant her putting togethera band, Tha Illuminations (featuring Glen Matlock and Rusty Egan)for a short tour.

I

Since tha demise of Radar she's been working as a sessionpinger and planning har first album wKh producer Cllvc LangarRWhile living and working In Camden Town dress shop.

Mind you, all these graduates of the Deaf School arc going tohave to gat themselves organised if they're going to become morasuccessful than their former colleague Rev. Max Ripple. He'scurrently Head Of The Fine Art Department at London'sGoldsmith's Coliagal

terrible. They ought to open thewindows, let people hear it, let

the airwaves carry it away.""There's this terrible thing in

the music business at themoment about findingsomething new, somethingdifferent. Why? You've got mod,ska, punk, country and western.

disco, rock'n'roll. That's enoughto be going on with.

"It's all just fashion and it

changes, in a year they'll

probably be getting out the bellbottoms again and saying 'this is

where it's atl' And the moment it

just seems to have come round tome again."

SMASH HITS 11

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ONE WAYTICKETTHE TOURISTS, who arecurrently Involved in legal

squabbles with their recordcompany, Logo, are threateningto leave the country and set upabroad if they aren't releasedfrom their contract before it

expires in 1984. The band arerecording a number of TV showsbefore leaving for an Americantour and say that if the disputeisn't resolved by the time theirnext album is ready, they won'trelease it in this country.

ACE NEW band Holly And TheItalians were forced to leave TheSelecter tour recently because asmall section of certain

audiences decided that their

music wasn't acceptable. SinceThe Selecter invited Holly on thetour purely because they admiredher music, they are bitterly

disappointed that some of their

fans think that anything whichisn't ska or on the 2-Tone label is

not fit to listen to.

When you consider that one ofthe main ideas behind 2-Tone is

to encourage the maximumintegration, musical, racial andotherwise, it's doubly depressingthat certain characters areincapable of seeing the wood for

the trees. Ah wel I, bigots arenothing new.

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I"NARADATHEYCOMETHE "NARADA" bit of MichaelWalden's name means "he whobrings light, delight andcompassion from heaven to earthand takes back to heaven fromearth all of her sufferings".

Modest, what?Walden collected this

unfortunate moniker through his

involvement with a guru called

Sid Chimney . . . sorry, Sri

Chinmoy. Born in 1952 in

Michigan Walden played drumsin a variety of bands beforejoining up with Mahavishnu JohnMcLaughlin in his MahavishnuOrchestra. (As you can probablysuss from their name, these boysweren't exactly Salvation Army.)

After three albums with theband where he took up a variety

of instruments, he worked withJeff Beck before starting a solocareer. His new album, "TheDance Of Life", from which"Tonight I'm Alright" is taken,leans more towards disco andfunk than the jazz-rock of yore.Maybe it all came to him in a

dream. Maybe he took the adviceof a bank manager.

THE CURE release their secondalbum, "17 Seconds" on theFiction label on April 18th. Theywill be touring the country duringApril and May with The Passionsas support.

i11

_*.^ ^:-...'-i^

m'Wm Rit: SC-ES ^..2* si^ -J « L_ ::^

AT HOME WITH FAY FIFE: Fay hears the sad news about Emerson,Lake And Palmer's break-up and has a quick practice on the organin case she's needed anywhere. We hear that this machine alsomakes the tea if asked politely . . .

OF ALL the people currentlypursuing dual careers in rock andacting, Birmingham born ToyahWillcox must be one of the mostsuccessful — and the mostbizarre.

Whether she's scurrying aroundthe stage of some tiny rockvenue somewhere or deliveringher lines in the film adaptation ofShakespeare's "The Tempest"by Derek Jarman (director of thepunk film "Jubilee"), Toyah is anunmistakableableface of 1980.

After troubled teenage years—which included running awaywith a pack of Hells Angels at theage of 14, setting fire to a barnnear her home and continualbattles with her parents— Toyahfinally found a sympatheticatmosphere at drama school.

It was there that a BBC theatredirector craftily observed her in acollege production,masquerading as someone in

search of a pantomime chorusline. That led to her first part —as a singer in the half hour BBC2play "Glitter" with"Quadrophenia" mainman Phil

Daniels as her boyfriend.

The National Theatre asked herto join their company in Londonand once there she met Joel, herguitarist, at a New Year's Eveparty.

CALL THISNEWS?YOU MAY have seen stories in

the national press about JudasPriest which claimed that thetapes to their new album hadbeen stolen in New York and aransom demand made for their

return. According to their

publicist, the band paid up andregained the precious masters.

Well, it's a little odd then thatthe New York Police, who Priest

claim advised them againstpaying up, don't know anythingabout any such incident andneither do the recording studiowhere the theft is claimed to havetaken place. Not a publicity stunt,surely?

"I had drunk a whole bottle of

whisky and was swinging on theshower unit in the bathroom of

some famous film star," is howToyah remembers the occasion.

Up until then, she says, "Theacting had been totally serious,

but the idea of a band had been a

fantasy because I was toofrightened to sing in public."

From that time, however, sheworked on both roles, singer andactress, continuing to rehearseand gig with her band — simplycalled "Toyah"— while playingparts in "Quadrophenia" andtelevision's "Shoestring" series

and a host of other plays andfilms.

The double attack on our earsand eyes shows no signs ofletting up, either. Look out forToyah as Dr Jekyll's maid in aBBC adaptation of the classichorror story, "Dr Jekyll and MrHyde" and on her first Englishalbum release, which is

tentatively due around late May.Meanwhile she's "saving up

for a cinema in South London" in

which to live and work. She hasno intention of easing off.

"I enjoy doing t>A/o jobs at

once", she enthuses, "I getexcited and completelyexhausted as well; I can't relaxotherwise." —^ _

Steve Taylor

pueq s/i/ Buiuiol ui josisaqtuAs

etsojetw ot seut ouaisoQ siAg

RosieBy Joan Armatrading on A&M Records

He has little red feet

His stockings and his shoesLipstick and rouge on his faceHe has his hair piled highHas a red umbrellaAnd carries his head in the sky

ChorusAnd I said

Aw, Rosie, don't you do that to the boysDon't you come on so willin'

Don't you come on so strongIt can be so chilling

When you act so willin'

And your warmth sets like the sun

He has a little baby brotherA big fat MamaHis sister asks for dimes on the streetHe doesn't feel insecureIn fact he knows, for sureHe can pleaseSaid he's up there right nowRunnin' with the devil

Struttin' down the alleywaysWith the nervous young hopeful at his heelAnd no dissatisfactionWon't drive him away

Repeat chorus

He's not lookin' for a friendNot lookin' for a loverThere in the crowded barHe has rings on his fingersHe's there to teaseYou know he only wants to take things too far

Repeat chorus to fade

Words and music by Joan Armatrading. Reproduced by permission of Rondor lyiusic (London) Ltd.

Hello, I AmYour HeartBy Bene Bright on Koiova Records

Well, hello

'a^" 'you go' me broken one too many times

Oh, hello ..,__

And you got me hurt, gi

Going away on a little vacation

There won't be no I

.,

You just have to wear a smile

?hi°s1s your heart leaving ^

Wish you the best of luck

While I'm healing up

Repeat entire song

Words and music by Dennis Linde. ^^^.^ p„, ^o. Ltd./EM, Mus,c

Reproduced by permission of Keiw r _

SMASH HITS 13

THE SMASH HITS READERS' POIL RESULTSFirst of all, thanks very much foryour fantastic response to the poll.Even though half the staff havebeen carted off to private nursinghomes to recover from the rigoursof counting, we've been knockedout by the thousands of voteswe've received and, unlike certainpublications we could name, everylast entry has been counted andcomputed. See you same placenext year with a new pencil.

BAND OF THE YEAR1. THE POLICE-'2. THE JAM

r 3. BLONOIE4. The Boomtown Rats J5. The Specials6. Tubeway Army7. Madness •/

8. Electric Light Orchestra9. The Skids

10. The Clash

As soon as we'd checked throughthe first ofyour many thousands of votes it wasobvious that Sting, Stewart and Andy weregoing to streak away with the award forhottest combo. In the end they notched upnearly six times as many votes as therunners-up.TheJam.After that things were close, with Blondie,

The Rats and The Specials racing neck andneck most of the way. A special mention forELO, the only outfit to figure in our Top Tenwho ve been at the top throughout TheSeventies. Hearty congratulations also toThe Specials and Madness, two bands whowere almost unheard of at this time last year.

Amongst the nearly-made-its were TheUndertones, Queen and The Pretenders.We d also like to give the Smash Hitssarcasm award to the character whonominated Meat Loaf as best bandl

BEST ALBUMOF THE YEAR

1. THE POLICE: REGATTA DE BLANC2. THE JAM: SETTING SONS3. TUBEWAY ARMY: REPLICAS4. The Specials

5. Madness: One Step Beyond6. Blondie: Eat To The Beat

7. Electric Light Orchestra: Discovery

8. Boomtown Rats: The Fine Art Of

Surfacing9. Gary Numan: The Pleasure Principle

10. Pink Floyd: The Wall

Once more The Police skank into the

distance, covering the competition with their

dust. The Jam's minor masterpiece, "Setting

Sons", took second from Mister Numan'smassive seller, "Replicas", by just a dozenvotes, with only four points separating the

two graduates of the 2-Tone academy at four

and five.

Other respectable scores were notched up

by "Days In Europe" by The Skids, "London

Calling" from The Clash, the first album by

The Pretenders and PIL's "Metal Box". Led

Zeppelin and Rush got one vote each and

will be awarded anything off the bottom

shelf.

BEST MALESINGER1. STING ^2. GARY NUMAN-^3. BOB GELDOF ^

4. Paul Waller

5. Joe Jackson6. Cliff Richard

7. John Lydon8. Terry Hall

9. David Bowie10. Elvis Ccstallo

And there they go again. Sting cops the prize

for golden throat by a mere few hundred

votes from Gary Numan. Geldof beat off Paul

Weller by (would you believe?) one votel Joe

Jackson obviously got through to a lot of you

while Cliff Richard just goes on and on. It d

be a foolhardy person who'd bet against him

figuring in the 1990 poll.

Dave Edmunds, Suggs and Feargal Sharkey

all made respectable showings but just

missed making it into the big league.

TV PROGRAMMEOF THE YEAR

1. TOPS OF THE POPS2. THE KENNY EVERETT VIDEO SHOW3. FAWLTY TOWERS4. The Old Grey Whistle Test5. TIswas6. Soap7. Rock Goes To College8. Grange Hill

9. M«A»S»H10. Dallas

"TOTP" may not be anybody's idea ofdynamic TV but Its job is purely to reflect thecharts and, If they're healthy, then the showwill contain a fair amount of good stuff. TheEverett show is^rnore Imaginative andfunnier but the miisic content Is smaller.Fawlty Towers Is purest brilliance as you'reobviously aware.

It's doubly good to see "Soap" scoring soheavily in spite of the efforts of TVprogrammers all over the country to lose It

completely in the schedulesi "Grange Hill"

proves that there is an audience for good,realistic TV for teenagers, but "Dallas"? I

meantersayl

Your man in the dickey bowand sickly smile: DavidHepworth.

Left. "It's true! It's true!We got more votes thanRed Starr! "The twomost fanciable people inthe whole wide world.Best Male and BestFemale singers, celebratetheir Smash Hits awards.

PIC: ALLAN BALLARD

BEST FEMALESINGER

1. debbie harry2. kate bush3. /:hrissie hynde4. Annie Lennox5. Siouxsia6. Lene Lovlch7. Pauline Black8. Donna Summer9. Ami! Stewart

10. Judy Tzuke

There used to be a time when it was hard toscrape together enough names In thiscategory. But nowadays, there's such awealth of great female talent that It's reallyhard to choose the best. Your votingreflected this; although Debbie showed therestofthefield a clean pair of stilettosChrissie Hynde and Annie Lennox slugged itout for third position, both of them piling uphuge totals.

k a k

If you're interested. Sting, Cliff Richard andGary Numan did well in this section, allgathering more votes than Anita Ward

BEST DJ/RADIOSHOW

1. JOHN PEEL2. DAVE LEE TRAVIS3. NOEL EDMONDS4. Mike Read5. Kid Jensen6. Kenny Everett (Capital Radio)

7. The Top Forty Show8. Peter Powell

9. Paul Burnett

10. Ann Nightingale

And the Peter Pan of the airwaves just

continues to walk away with the awards.

How does he do It? No surprises elsewhere.

London Capital Radio's Kenny Everett is the

only DJ from local radio to make a showing.

MOSTFANCIABLEPERSON

1 STING2. DEBBIE HARRY3. GARY NUMAN4. Kate Bush5. Stewart Copeland6. Bob Geldof7. Chrissie Hynde8. Suggs9th equal. Paul Waller, Terry Hallmm

BRIGHTEST HOPEFOR 1980

^.' I

I

t

1. MADNESS2. THE PRETENDERS3. JOHN FOXX4. The Tourists

5. The Buggies6. The Beat

7. Joe Jackson8. The Vapors9. The Chords

10. New Musik

Well, if you've got your hopes pinned on any

of the above list you're unlikely to be

disappointed. Alright, so Madness and The

Pretenders have already hit big, not to

mention The Buggies, but they're nearly all

still feeling their way at the moment. Both

The Chords and Vapors have obviously

Impressed a good deal of you with their

efforts as support acts while John Foxx Is

justifiably getting his due for all the Influence

he's had on more famous acts.

Just missing out but catching your attention

were The Regents, The Selecter and

Orchestral Manoeuvres In The Dark. The

future looks bright indeed.

BEST SINGLEOF THE YEAR

1. THE POLICE: MESSAGE IN A BOTTLE2. TUBEWAY ARMY: ARE "FRIENDS"

ELECTRIC3. THE BOOMTOWN RATS: I DONT LIKE

MONDAYS4. The Special AKA: Gangsters

5. The Jam: Eton Rifles

6. Blondie: Heart Of Glass

7. The Special AKA: Too Much Too Young8. Pink Floyd: Another Brick In The Wall

9. The Police: Walking On The Moon10. The Police: Roxanne

The Police failed miserably in their efforts to

get their entire catalogue In the Top Ten and

are forced to make do with just the three

entries. In fact, the difference betweenwinner and runner-up Is smaller here than in

any other category. Madness had three

singles In the first twenty but just failed to

emulate the astonishing success of their

former 2-Tone playmates. The Specials. Andget this, fight fans, the entire 2-Tone

catalogue appeared in the first thirty 1

TWERP OF THEYEAR

2. LENA MARTELL3. TONY BUCKBURN4. Bob Geldof5. Red Starr6. Ian Page7. Sting8. Cliff Richard9. Kenny Everett

10. Terry Wogan

was somethina of a HiL ^^^"^ position

but,contacteSnfgh?^?h;"*r""*^°^'^''"emphasised his determ nJr ^ ^°"'^- ^^"1980 is going ?o be m^'"|a °?i° 'T'^^-my bone."

'"' '^^r. l can feel it in

Mer?uf;,'M^,73r« Th".7L'^°'*^' ^^-'^die

Pursey a so rffl n„t''^^'' ^"'^ ^'"'"ly

hackles, and a ce^"°*f,^o«^^^out either

^^'" ^'- ""Vdon wasn't far

WORST SINGLEOF THE YEAR

bee^a%ood';eTrfo?al'°.^^r '"^ ^°- '»'«

"ye^'^ '°^ goo but class will tell.

'ICiGARYLEIGHTON

Well, it's a great honour. But it wasn'tjust my achievement; there are hundredsof people behind the scenes withoutwhom all this would have beenimpossible ..."

BOREOF THE YEAR

1. LENA MARTELL2. MOD3. DISCO4 Gary Numan5. Margaret Thatcher

6. Heavy Metal

7. Tony Blackburn

8. Punk9. Bob Geldof

10. Cliff Richard

Odd nomination that reaiiy xo^^on

by offering up a name whose ry^^^^^

sent most of "!,*?„*'®.aP Jjet and, best of all,

rollins Reginald BosanquBi oil"

Patt! Boulaye. Now that's bonng!

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16 SMASH HITS

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1

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»<ool In The KaftanBye. A. Robertson on Asylum Records

Kool in the kaftanLove and peace, man

Fee fi fiddley diThree button teeshirtIt s a tie-dyeFee fi fiddley danKool in the kaftanLove and peace, man

ey doo)tVou're my man from Metal Guru)

fe your wife

iow you are a \

repeat chorus

T;r«:i!°S."=°«W'=Kenziei„SanFr,

But San Francisco ha.tfuly underground"

Do yourself a favour d- -

Find what's next

o out and buy T. Rex"

f^epeat chorus twice

Fee fi fiddley danKool in the kaftan

Repeat to fade

^ords and musin /,,. o,;„ .

Jray, man

'''°^ of UA/Myaxe/B. A. Rob,obertson

WIN A MINI-TV!DOWN

ACROSS1 Originally by The Ronettes,

currently Top 30 for TheRamones (4,1,4,3)

5 Drippy person (slang) in aWimpy Bar!

7 "I Will Survive" was her No 1

of last year (6,6)

10 & 24 "Pearl's A Singer" singer11 Let on about John?!13 "Cruel To Be—"/Nick Lowe15 Current Jam LP (7,4)

18 Devoto of Magazine19 Mike Oldfield's disco single;

also the verdict of this court!

20 & 26 across See royal mix up!

21 "Hey - - - - Don't BotherMe"/The Tarns

23 See 2526 See 2027 A call for more?29 The hit LP that accompanied

"Oliver's Army" (5,6)

33 "— Never Sleeps"/NeilYoung (N.B. Keep away fromheavy metal!)

34 He lives, even if he is mixedI

Yep, that's the incredible prize up for grabs for the lucky winner of our

Crossword Competition. With a 5 inch screen, it's completely portable

and also contains a radio!) And if that wasn't enough, there's a copy

of Squeeze's ace new album "Argybargy" into the bargain. Fancy

your chances? Of course you do. Then here's how it works: the first

correct entry opened after the closing date (April 3) cops the mini-TV

and the copy of "Argybargy". The next 25 correct entries opened will

each receive a copy of Squeeze's album, OK? Then what are you

waiting for . . .

How to enterSimply solve our crossword puzzle, writing the answers in Ink, pen or ball point.

Complete the coupon with your own full name and address, then cut It out andpost it in a sealed envelope to; Smash Hits (Crossword No. 34), 117 Park Road,

Peterborough PE1 2TS.

Make sure it arrives before April 2, 1980, the closing date. The sender of the first

correct entry checked after the closing date will win the portable TV with radio,

plus a copy of the new Squeeze album. The senders of the next 25 correct entries

will each win a copy of the Squeeze album. The Editor's decision on all matters

relating to the competition will be final and legally binding. No correspondence

can be entered into. The competition is open to all readers in Great Britain,

Northern Ireland, Eire, Channel Isles and the Isle Of Man, except for employeesand their families of Smash Hits and East Midland Allied Press.

ANSWERS TO CROSSWORD No 32

ACROSS; 1 Bob Geldof ; 4 Stiff; 7 "Roxanne"; 8 (Bay City) Rollers; 1 1 "BecauseThe Night"; 12 "Rapper's Delight"; 16 Sparks; 17 "One Step (Beyond)"; 18

"(Ring My) Bell"; 19 "Kid"; 20 Ear; 21 "Silly (Games" or "Silly Thing"); 23"(Can't Get) Enough"; 24 Faces; 26 Nick (Lowe); 28 Pink Floyd; 30 "(One Step)

Beyond"; 31 "(Native) New Yorker".

DOWN 1 1 B A Robertson ; 2 Graham Parker; "(Parallel) Lines"; 5 Talking Heads; 6Dr Feelgood; 9 (Boomtown) Rats; 10 Studio; 13 "Rosalie"; 14Toto; 15 "(Instant)

Replay"; 18 Bay City (Rollers); 19 "Knock On (Wood)"; 22 Ian Dury; 25 Spins;

27 Cure; 29 (Nick) Lowe.

CROSSWORD No 32 WINNERSSTEREO WINNER: D. Hills, Dunstable, Beds.ALBUM WINNERS: Karyn Mills, Farlington, Hants; Barrie Clegg,

Enfield, Middlesex; Mary Coates, Woolsery, N. Devon; Paul

Sargent, Byfleet, Surrey; Stephen Andrews, Nabwood, W. Yorks;

Helen Jones, Mountain Ash, Mid-Glamorgan; Andrew Sidebottom,Almondbury, Huddersfield; Tony Bevington, Walsall; ThomasMooney, Port Glasgow, Strathclyde; Suzanne Whittaker,

Macclesfield, Cheshire; Joanne Kither, Slade Green, Kent; JanetMarch, Wollaston, W. Midlands; Sue Norton, Bristol; David Clark,

Edinburgh; Wendy Glasspool, Weston Turvllle, Bucks; Ian

Henderson, Mickleover, Derby; Richard Simmonds, London NW10;Peter Rowan, Stoke Golding, Warwicks; Marlon Ray, Slough,

Berks; P. Collins, Edinburgh; Grant Poe, Farnham, Surrey;

Lawrence Tudor, Stoke Hill, Exeter; Kate Robinson, Acomb, York;

Gail Biggin, Hoyland, Barnsley; Michael Bishop, Newbury, Berks.

up35 See 28

1 "Video Killed The Radio Star"band

2 Leader of "Green Onions"soulsters(6,1}

3 Instrument4 Dr Feelgood's unlikely

cocktail; this was hit for themin early '79 (4,3,7)

6 Chrissie Hynde's band8 Japanese-born wife of Beatle

John Lennon (4,3)

9 Smash Hits' very own starr!

12 Heavy rock band/Or hasElizabeth taken the diet toofar!

14 American town famous as thehome of country and western

16 US country rock band whosealbums include "HotelCalifornia"

17 Marvin of Motown22 Where's the brass? (2,6)

24 See 1025 & 23 Iran's soda (anagram)26 "Here Comes The—"/Undertones28 &35BlondieLP— sounds like

a good way to getindigestion!

30 Jones of The Monkees31 Ramones and Undertones

label

32 No charge for Paul Rodgers'old band who had a '70s No 1

wKh "All Right Now"

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No. 34

Name l^n^CV Mv. CU: ^y Age

Address-•-^

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/^' ,n...-D..0„.C..'3. .S.SMASH HITS 17

THEBESrOFMICHAELJACKSON

14TRACKS INCLUDING^BEN""GOTTOBETHERE'' "AINTNO SUNSHINE''"ROCMN ROBIN''

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FORTW LATBTIMORMAHONONMOTOWhrS AimSTS ANDI^ORDS SENDA SJkiTOMOTOWN MUSIC MESSBiGBt,

P.O. BOX 4NJ, LONDON W1A 4NJ.

18 SMASH HITS

Wall, balng • toap yaar. It It

Inavltabia that Frogs might coma Into

your Wa a llttia mora than usual. Bevis still away raeovoring from har tonsil

operation, to har« I am again in full

slippery glory.

On the music front. The Whitpertand Michael Jackson are still well

placed in the national charts. Hare are

two examples of fine dance recordt.

Yet constantly you will hear tilly

people say "Disco is Dead". Well, theword mey be, but the music isn't.

Some artists who haven't had a hit for

ages have tuddsnty popped up again,

i.e. Brothers Johnaon wKh "StompI",Brass Construction with "Music

Makes Ya Feel Like Danein'/Shaka R",

Narada Michael Waldan with

'Tonight I'm Alright", to name but a

few.Why do you think that the above

people are charting here? it's a well

known fact the biggest chunk of

record buyers in this country are the

12 to 18 year olds, so you must all play

a big part. Whilat I'm working I alwayslet the crowd know where a certain

disco or dance reeorti Is In the charts

to let them know tiiey have been part

of the action.

One or two of you might know that

I do work for Radio One from time totime. About three times a year the

whole network goes out on the road

and dees whatwa call a "Radio OneWeek" away. During this week of

away transmissions, vary large discos

are held to help to raise money for

Charity. The last one was field in

Cardiff and It was also the first timewe tried out a Junior disco during the

week. H wet a great success end thekids were great. So obviously this

year another will be heM.So look out this Spring and

Summer, and you can see Peter

Powell, Paul Bumette, Andy Peebles.l

Kid Jensen and Dave Lee Travis withfyours truly.

Seeya,Froggy!

J'.'-rirc--"""""'''«

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GARY NUMAN

/^tim Le-e-e-eft. hands in pocklts!^Tihe Vapors, left to*right: HowaMSmith, Ed Baialgette, Dave FentpnandSteve Smith r^

TURNING UP AND TURNING OUTRyan Kelly follows The Vapors' trail

FOR A young hopeful band, theluck involved in being in the right

place at the right time can beyour biggest asset— the decider

between fame and obscurity.

Collectively, The Vapors appearto have been weaned upon this

kind of luck, and though thegood lady is not usually tooselective about whom shebestows her favours on, this timeshe seems to have come uptrumps.

Singularly, Dave Fenton, EdBazalgette, Steve Smith andHoward SmKh (no relation) are

distinctly unimposing guys,hovering around the age twenty.There are no sparkling wits, nocolourful personalities, not evenan outspoken bigot or egotist todistinguish them. They're sonormal it's downrightdisconcerting.

THE STORY starts in downtownGuildford, Surrey. Three local

bands break up simultaneously,and guitarist/vocalist/

songwriter Dave Fenton is

around to pick up selected

pieces, dust them down and•mould them into a new group:

. 22 SMASH HITS

The Vapors. The band get a settogether and in May '79 are

playing one of their first fewdates at a nearby pub.As fate will have it. The Jam's

Bruce Foxton is drinlcing at thatselfsame etsablishment and,duly impressed, offers them third

place support on some of theJam's next dates. His promiseproves valid, and before their

gigging experience has reacheddouble figures. The Vapors find

themselves on stage in front of acouple of thousand people.

This is where things couldhave turned sour; a fledgeling

band thrust immediately into thelimelight, they could have easily

evaporated under the pressure.

But no, Bruce was eager tomanage them— along with Jammanager (and Paul's Dad) JohnWaller— and with their helpteething troubles were largely

by-passed. Soon the group wereready to go, with a record dealwith United Artists to boot.A successful tour with The Jam

followed, coinciding with therelease of a neat, but ill-fated

debut single, "Prisoners". Asecond 45 emerged in the form of

"Turning Japanese" and the nextthing they're straight into theTop 20.

So for the Vapors it's all

systems go; but right now in aGuildford pub after a sleeplessnight, their go has got up andgone. Thankfully they haven'tacquired the glib backchat of

seasoned interviewers, but theyhave a tendency to lapse into

cautious silence when unsureand voice far more facts thanopinions, but generally they'repolite, speak when spoken toand are good boys for their

Mums.We start with the obvious, the

current hit single.

"I suppose the main reasonthis one took off where'Prisoners' failed," states Dave,"is the airplay it has received.DJ's took to this one because it's

a bit different and initially theygot the chance to dig out their

Japanese accents to introduce it.

"Though a lot of people thinkit's just a straight love song, it

isn't. It's about a guy who's onlygot a picture of a girl and is

infatuated by her, and the way heends up completely twisted."

Dave adds that his lyrics tendto be short scenarios aboutpeople and the situations theyfind themselves in, though heappears to steer clear oftraditional boy/girl sagas. TheB-side of "Japanese", "HereComes The Judge" is about arapist, who once again has headproblems, surveying his life fromhis cell awaiting an unsavouryfate, while "Prisoners"concerned itself with the rut

Dave found himself in in

bedsitland.

The two singles are in no wayto be scoffed at, but even so TheVapors' main strength at presentis still their live work, whichshows on "Judge"— a live

recording which displays aforcefulness missing from their

studio sound."We did that track live because

we were pushed for time,"confides Steve, "Also we haddecided that although it's a goodsong it just wouldn't turn outright in the studio.""We've still got to get things

right," admits Dave, "With'Prisoners' we used a producerwhose ideas differed with ours

as to what we should sound like.

He wanted a rawer sound thanwe were after, and it ended upthat way because, once again,we were pushed for time."

I ASK about the current man atthe controls, VicCoppersmith-Heaven, who alsoproduces The Jam, and suggestthat parts of "Here Comes TheJudge" sound a little too close tothe former's "To Be Someone"for comfort.

Blanic faces. No-one seems toknow what I'm talking about.After an uncomfortable silence

Ed cottons on to the idea andexplains, in song, to the others.No, they affirm as one, it

certainly wasn't intentional.

Dave jumps in with anexplanation:

"We were given a completelyfree hand over who we wantedto produce us and Vic, who weall agreed is good, was availableat the times we would need him.We were pretty pleased with theresults of "Japanese" sonaturally we're using him on thealbum, which we'll be finishingoff in two weeks' time."But don't they think that they

could fall, however accidentally,under the shadow of The Jam?For although the two bands arecomparatively different in

outlook and styles, the link withBruce and Vic's production couldovershadow these differences.The looks on the Vapors' faces

shout an indignant no.

Dave picks up on the question:"We've been surprised at how

people have disregarded anyconnection with The Jam,instead of fixing onto the idea,"he says, making me feel like thewicked witch, "They've taken usas ourselves, not as just Jamprotegees. But then on the otherhand, we aren't signed to thesame label, and there is only onemember of the band involvedwith us to any great extent."They do agree that up until

now they have led a fairly luckylife and having someone like

Bruce managing them has beenan asset.

They have also been left tomore or less their own devices bytheir record compay, with whomthey are perfectly contented. Edadds that the initiative lies withthem— although there is aprofessional team to back themup— and that together the banddo discipline themselves all thetime.

Do they think that they couldbe under more pressure to comeup with money-spinning materialnow that they've provedthemselves so quickly to becommerically successful?

"Well, we weren't signed upon the strength of one song, youknow," retorts Dave, "And I can'tsee that we'll be under any morepressure than any other band in asimilar situation."

THE TOPIC of conversation takesa timely turn to touring.

something The Vapors havedone their share of in recentmonths. I ask whether theyfound it strange following thetouring principle in reverse—starting with massive audiencesthen turning their attention tosmall clubs.

"Well, we've just finished a17-date tour of our own, andwe've tried to take in the smallertowns that often get missed outon traditional tour itineraries,"

says Ed. "We learnt an awful lotthough on The Jam tour,because when we first set outpeople told us that we wouldsometimes look a bit lost on thestages, that we weren'tcommunicating enough and I

think we're graduallyovercoming that problem."The dates on our own

obviously give us moreconfidence because we know thepeople who have come along arehere to see us— and are notwatching because we happen tobe supporting a band they havepaid to see," continues Dave."When you're in front of two

thousand people it's verynerve-wracking at first. You can'tsee the audience because thereare lights in your eyes, you canhear and feel that they're therebut you can't see how they'rereacting to you."

I mention that must be easy toseem condescending whenreturning to small gigs.

"Oh yes," agrees Steve, "It's

very easy to be, because you'reused to a faceless mass, and thensuddenly you can see five

hundred people in front of youperfectly clearly. You can't justwork your way through a set,you have to adjust to how theaudience feel and react."Their audiences, they stress,

are a very mixed bag. They havefound that a lot of mods havecaught onto them because oftheir sharp, punchy songs, whichoften sound deceptively simple;yet they also attract punks,skinheads, a few headbangersand of course the people whohave come along simply becauseof their music and who don'tbelong to any kind of clique—which is how The Vapors viewthemselves.Dave is particularly proud of

the view of one critic who statedthat "they're remarkable in thatthey are in no way remarkable".They have no pretentions ofbeing something they're not andthere's no image that leaps tomind when their name is

mentioned— which again theyare completely satisfied with.

SO, IN under a year The Vaporshave built up a promisingfollowing, carved a neat niche in

the charts, made a name forthemselves and managed toremain unscarred by the pitfallsof the music business.Not bad going, and their best is

still to come.

Poison IvyBy The Lambrettas on Two Stroke Records

She come on like a roseAnd everybody knowsShe'll get you in dutchWell, you can look, but you better not touch

ChorusPoison Ivy, Poison Ivy

Late at night while you're sleepin'Poison Ivy comes creepin' around

She's pretty as a daisyBut look out, man, she's crazyShe'll really do you in

If you let her get under your skin

Repeat chorus

Ah, that beat wilt make you jumpAnd blues wilt make you lumpyThe way it rocks will make you jump and twitchThat rhythm's gonna fool yaThat slow back beat will cool yaBut Poison Ivy, Lord'll make you itch

You're gonna need an oceanOf calamine lotion

You'll be scratchin' like a houndThe minute you start to mess around

Repeat chorus

Repeat 3rd and 4th verses

Repeat chorus to fade

Words and music by Jerry Leiber and Mike StollerReproduced by permission ofCarlin Music Corporation

SMASH HITS 23

,

'"the happy houseI

On Its such fun

Imn, fun, woah

We've come to play

In the happy house

And waste a day

In the happy house

It never rains

Never rains

'' ^t.he happy house1

We re ,n a dream

r "a iA/»' -^y house

r '^a'"' pain, woah

This is the happy house

We're happy here

There's room for you, if you say I do

But don't say no, or you'll have to go

We've done no wrong, with our blinkers

on . , *

It's safe and calm if you sing along j

Sing along

Thisisthehappyhouse ^

We're happy here

'"*»'''''»f^::rs°eWes .

And pfeteni

There is no hen

'^ C::i.!°f!^"?;hrough yo^r Window"^

, ^^ ^ -your window

HsLpioyS^l.^v

^S^

BvSiouxsieai^lTh.Banshees'onPoW<lo'''e«°"''

TIES MODS-PUNK-ROCK

1 Plain Black

2 PJain White3 "h Black-White

4 Mods5 The WHO*6 The JAM*7 Madness*6 Specials*

9 Selectors*

10 Prince B.

11 Walt Jabsco12 on Radio

13 Dancing

14 Trumpet15 TOO MUCH16 Rude BOYS*17 Rude Girls*

18 The Beat

19 Skins

20 Skinheads*21 The Police

22 Lambrettas

23 The Tourists

24 Joe Jackson25 Numan26 Bowie

ALL£1

BLACK or WHITEHAND PRINTED

2 TONE £2A-1 All Checks

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Satin Material

A-5 NUMAN TYPE TIE,

Red and Blue £3NEW PLASTIC BADGES r.

PI Madness Man P4 on Radio

n Jabsco P5 w. Tmmpet P7 Beat Siil

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w

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MR. PAUL(DEPT. Promotions)67 DARYNGTON DRIVEGREENFORD — MIDDLXTMDE ENQUIRIES WELCOME

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The latest matching 2~ rainbow braces(state height) only £2.96

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Matching heart design T-shirt (samecolours as above) £3.50

JEANS (American 13oz denim) —straight leg, 26'-36". great value £9.95

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THIS ISTHECOMPETITION

RUTS-STARING AT THE RUDE BOYSNEW SINGLE RELEASED FRIDAY 28 MARCH

WIN A NIGHTOUTWITH THE RUTSFIRST 20,000WITH TEAR OFF COMPETITION

24 SMASH HITS

tern won

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Please include 30p p&p. State size SML and send money with your order to:

STARPRINTS, 202 main street, newbold verdon, leics.

APOLLO

THE OFFICIAL TOUR MERCHANDISING AGENTS

TIESSPECIALSSELECTER2-TONEPOLICEJAMBOWIESID VICIOUSMODS

£1.75 each + 2Sp P+PBlack or Red Tie.

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80p 50pFULL BLACK&

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BLACK & WHITE PHOTOSIMPORTANT: ONLY ITEMS WTTH CODE NUMBER BIDING WTTM LETTER C ARE IN COLOUR

fntaw raiti mt tht foll«win( I inclOH Chniui/PO £ for total

I Phstagrapht moairt ol purchwet (which includvt 2Sp p&p)

- Snbitct coca 'yy^ |.jg,8( ^^ cannot accapt orders for less than' a minimum of £1.30 + 25p P&P.

To avoid delay, please indicate

alternative choice, should any onesubject be out of stock.

3ZZ1135c Sting 131c Blondie

PM M: ANABAS PDODUaS UNITED,ChithMH ClOM, Cirfar RomI, Mmfortf, Ewixmi? 7EX. ENGUND. DEPT. SH]

SMASH HITS 25

YOUNG MARBLE GIANTS:Colossal Youth (Rough Trade LP).

Virtually unknown outside of

their native Cardiff, this strangelittle trio have come up withsomething quite new and totally

unexpected which will doubtlessbe received with massiveuncertainty by those who haven'tbeen told how to react.

A strange band indeed to

witness: one on each side of thestage, the tall, thin Moxhambrothers pump out their

purposeful, uncluttered rhythmson guitars and rhythm machinewith quiet concentration,sometimes adding an equallysimple keyboard decoration,

occasionally looking up to

exchange half a smile.

In the centre, motionless AlisonStratton, hands deep in dresspockets, adds her clear, flowingvocals in a small, faraway voice.

The resulting songs are quietly

hypnotic, like spacey, subdued,melodic stories (which someLondon idiot who couldn't pin

Cardiff on a map to save their life

will probably christen "miningpop" or something equallydumb).These fifteen intriguing tracks

are simply very good indeed.

You'll either love them or hatethem— rock'n'roll they ain't—but you should certainly

investigate without delay.

Young Marble Giants, by theway, came to Rough Trade'snotice via two tracks on "Is TheWar Over?"— a compilationalbum of South Wales talent

recorded in Cardiff's Grass Rootscoffee bar by Z Block Records(motto: "It was easy, it wascheap, now it's your turn."). (Forfurther info, send SAE to Flat 1, 1

Walker Road, Splott, Cardiff.)

Impressed by Young MarbleGiants' contribution. RoughTrade then offered the band thechance to record this albumwhich they duly comple;ed in six

days at Foel studios in Mid-Wales.

singlesFir^t off, three new singles

distributed by Rough Trade."Wardance", by Killing Joke(wifttlcious Damage) starts off

v\^ a bass riff that comes very,

but VERY, close to The Scars'

jJt/ery" but then builds into a

^fificent wall of sound epic

j'S touch of synthesiser in

W^ amid the guitar and drums.,l|ie other side "Psyche" is just

d^Ood if not better. Fast andfffpiis, it's a raging, angryrjSgBrd that positively scorches its

r over the mighty bass line

_ .1 Youth (late of The 4x2's)

antf into your brain. Great record

—|>iiy at once and play as loud as^t»^lble. Excellent artwork also.

"Kebabtraume (Kebab Dream)"b^bAF (Mute) is a piece of

GSfman electronic nonsense that

doesn't actually do anything or

go anywhere but is pleasantepough. The 'B' side "Gewalt(violence)" is all World War 2

noises amid swooshingsynthesisers and yelled vocals.Doubtless somebody'simpression of something, it endsup somewhere between boringand irritating.

"Treason" by Teardrop Explodes(Zoo), on the other hand, is a

small gem. With truly

Liverpudlian feel for attractive

melody and catchy chorus, it's a

brisk little song loaded with goodideas and neatly channelledenergy. Produced by Clive

"Madness" Langer, it's simplebut beautifully effective and oneof the best little records this year.Amongst the other

independent vinyl received in this

office are t\, o more 45's

distributed by Rough Trade. (This

26 SMASH HITS

isn't an RT commercial, honest!)

First up is "Let's Build A Car"by the very wonderful SwellMaps (Rather Records). Simply,this is just great— I don't knowhow they manage it! Anothertuneful little "pop" song notunlike "Dresden Style", this

features buzzing guitar, energeticdrumming and much refreshing,

joyful zest. You'd have to have a

heart of stone not to like this.

The 'B' sides sound like

excerpts from improvisationsessions. Like everything elsethey do, it sails perilously close tochaos at times but ends up, well,just working somehow. Thisband are the real thing and youowe it to yourself to possess atleast one of their records. Youcould do worse than start here.Last Words del ive r twostraightforward punky little

songs with all the subtletytraditionally associated withAustralians. 'Today's Kidz" and"There's Something Wrong"(Remand) offer nothing new orparticularly original but they'retight and poppy, simple andsincere. One step up from the UKSubs, this is OK— if you like thatsort of thing.

SWELL MAPS' Jowe Head: this

picture says more about the bandthan any write-up!

lST.K»Si?;i:»xw<s?."Sr''

independent singles top 30THISWEEK

TWOWEEKSAGO TITLE/ARTIST UBEL

1 1 KING/FOOD FOR THOUGHT UB40 Graduate

2 2 WHERE'S CAPTAIN KIRK? Spi//Enerqi Rough Trade

3 3 TRIBAL LOOK/BIRD IN FLIGHT Toyah Safari

4 1 1 FIERY JACK Fall Step Forward

5 4 YOU CAN BE YOU Honey Bane Crass

6 7 MOTORHEAD Molorhead Big Beat

7 6 SHEEP FARMING IN BARNET Toyah Safari AP8 8 GIVE -EM HELL Witchfynde Round9 9 (I'M IN LOVE WITH) MARGARET THATCHER Notsensibles R<-tlball

10 1 2 SOLDIER SOLDIER^izz Energi Rough Trade

11 13 WHITE MICE Mo Dettes Mode12 16 OON'TTOUCH ME THERE Tyflers Of Pan Tanfl Neat

13 6 GIMME SOME LOVIN' Vibrators Rat Race14 10 NANTUCKET SLEIGHRIDE Quartz Reddington's

15 1 7 ALTERNATIVE ULSTER Stiff Little Fingers Rough Trade

16 15 VICTIMS OF THE RIODLE Toyah Safari

17 22 DARK ENTRIES Bauhaus 4AD18 21 TRANSMISSION Joy Division Factory

19 13 LET'S BUILD A CAR Swell Maps Rough Trade

20 26 SELF-MADE SUICIDE E F. Band Redball

21 14 JUDY IN DISGUISE Silicon Teens Mute

22 23 INSIDE OUT Stiffs Oorff

23 19 CALIFORNIA UBERALLES Dead Kennedys Fast

24 ?8 RIDERS IN THE SKY Set Lyncfi'sLeqs Absurd

25 36 1980: THE FIRST 15 MINUTES Various Neutron EP

26 24 ONE OF THESE DAYS Trespass Trial

27 31 MIND YOUR OWN BUSINESS Delta 5 Rough Trade

28 49 SHOOT OUT THE LIGHT Diamond Head Happy Face

29

3D

26 SILENT COMMAND Cabaret Voltaire

40 SPYDERMANAkr/lykzRough Trade

Red Rhino

independent albums top 10THISWEEK

TWOWEEKSAGO TITLE/ARTIST UBEL

1 2 STATIONS OF THE CRASS Crass Crass

2 1 SHEEP FARMING IN BARNET Toyah Safari

3 4 LIVE AT THE YMCA Cabaret Voltaire Rough Trade

4 3

6

PRINCE BUSTER'S GREATEST HITS Prince Buster Melodise

5 INFLAMMABLE MATERIAL Stiff Little Fingers Rough Trade

e 6 UNKNOWN PLEASURES Joy Division Factory

7 B FLYING DOESNTHELP A. IWoore Quango8 15 LIVE AT THE RAT CLUB ATV Crystal

9 9 FAUST 1 Faust Recommended10 19 SOFARFaust RecommendedCompiled by Record Business from a nationwide panel of specialist

shops.

SMASH HITS 27

The names listed are hidden in the diagram.They run horizontally, vertically or diagonally— many of them are printed backwards. Butremember that the names are always in anuninterrupted straight line, letters in sequence,which ever way they run. Some will need to beused more than once. Others you won't needto use at all. Put a line through the names asyou find them.Solution on page 37.

AC DCBEATBEE GEESBUGGIESCARSCHELSEACHRIS RAINBOWCLASHDANFOGELBERGDONNA SUMMERDOOLEYSEAGLESELVIS COSTELLOELTON JOHNFERN KINNEYFLYING LIZARDSFOUR TOPSIRON MAIDENJEFFERSON STARSHIPJOCKOJOE ELYKINKSKOOL AND THE GANGLENE LOVICHMAC CURTISMAGAZINEMATCHBOXPHOENIXPINK MILITARYRAINBOWRICK JAMESROCKY SHARPESEX PISTOLSSHAKIN' STEVENSSPYROGYRASQUEEZESWELL MAPSVANGELISWHIRLWINDYARDBIRDS

JGREBLEGOFNADSRRSCEOAMSPYX 1 NEOHPOAYJFYRATILIMKNIPYCIEFFLYGSPLABNHP 1 NKFLFE 1 EAPHTEANEOHPFYORR 1 NZPCASGCDCAE 1 UORSHN 1 HTUKHN 1 SRNRODSHI INOMIEIVASETLOHEARKEMNLWONOVOLOALEKONEKSLLYNSPELGTLGSARSEREASESTSFOGVEDREA 1 NRTMASEENS 1 UERYFHEDAASOXRJVWVCBAGWLBRJDCPNOKOEA 1

S

ZOSOSKRS 1 KHOBKWNRNIRYHCI ISQNONNHGASELYI IBVTJEUIVIGCEREGPRDLOODEAERPLXT 1 ZNSRELE 1 LROLESELGAE1 ALSPAMLLEWSZSVEYMYRJOMCAMORAYCEJ E LYLEGNAGEHTDNALOOKEVFOONLS 1 TRUCCAMCXESRRORYPSEPRAHSYKCOR1 RWOBN 1 ARS 1 RHCOOJJ

ANOTHER BRICK ON YOUR WALLYes folks, it's competition time once again and this time the prizesare something very special indeed. Bricks. Yup, you heard right.

These particular desirable ornaments are part of a set of fifty

bricks which Stiff Records have fashioned to mark the release ofthe new Wreckless Eric double album, "Big Smash". Each one hasbeen hand-tooied in lustrous red dust and boasts the words"Wreckless Eric ... Big Smash!" painstakingly picked out in thefinest water colours on two sides.

These beauteous objects will add that certain air of graciousIh/ing to any room in the house and have been covered on one sidein the best black felt to prevent them scratching any smoothsurface.

The six lucky winners of our little competition will each win abrick plus a copy of "Big Smash"; the twenty runners up will gethe album while another fiftyiucky souls can claim a Wrecklesstrie poster to cover up the damp on their bedroom walls.

So what, we hear you mutter, do we have to do to get our mittson these multofab prizes? Well, you've got to think brick. Just takea well-known song title and substitute the word "brick" for one ofthe words in the title.

Thus, you could come up with "Are 'Bricks' Electric?", "It's

Different For Bricks" or even "Brick In Pocket". Got the picture?What we're after is the most absurd and gigglesome substitution,the one that's most likely to appeal to the overgrown kids who runthis magazine.So think long and hard and send your entry (only one per person)

on a postcard with your name and full address to BRICKCOMPETITION, Smash Hits, Lisa House, 52-55, Carnaby Street,London W1 to reach here by March 31st.

28 SMASH HITS

tCV4T£ rbU^M

lAilTK TWeCM'tO

Label

EMI

>97^

Requested by

The Man With TheChild in His EyesBy Kate Bush on EMI Records

I hear him before I go to sleepAnd focus on the day that's beenI realise he s there when I turn the light off

And turn overNobody knows about my manThey think he's lost on some horizonAnd suddenly I find myselfListening to a man I've never known beforeTelling me about the seaAll his loves, 'till eternity

Ooh, he's here againThe man with the child in his eyesOoh, he's here again

The man with the child in his eyes

He's very understandingAnd he's so aware of all my situationsAnd when I stay up late

He's always waitingBut I feel him hesitate

Oh, I'm so worried about my loveThey say "No, no, it won't last forever"And here I am again, my girl

Wondering what on earth I'm doing hereMaybe he doesn't love meI just took a trip on my love for him

Ooh, he's here againThe man with the child in his eyesOoh, he's here againThe man with the child in his eyes

Words and music: Kate BushReproduced by permission Kate Bush Music/EMIMusic Publishing Ltd.

m^'

--..

SINGLES

THE JAM: Going Underground(Polydor). Can they put a foot

wrong? Can pigs fly? A Wellersong, "Going Underground" isn't

as immediately jaunty cis "EtonRifles", but after a few whirls this

proves the stronger song.Relentless attack in their usual

biting style, coupled withuncomfortably sobering lyrics.

Superb.

SECRET AFFAIR: My World (I

Spy). OK, so Ian Page's head haslost all sense of proportion andtheir last release was a flop— but

"My World" deserves better, if

only on the strength of its searing

sax solo. Far ahead of all other-

Mod bands they remain, but

forget the dressing-up and listen

to these powerful songs— you'll

be pleasantly shocked.

GENESIS: Turn It On Again(Charisma). Spiralling keyboards,

subtle guitar and technical

ecstasy of course, but althoughthis song sets out with somepromise it finishes frighteningly

docile. Altogether half a goodsong and half a dull ache at the

back of the head.

BODYSNATCHERS: Do RockSteady/Ruder Than You (TwoTone). Up and coming all girl ska

band give a promising debutrelease. The traditional "Do RockSteady" is bouncy bluebeat,

though not quite of Specials

standard, while "Ruder ThanYou" with its toytown organ is far

better— as catchy as ftu and ten

times more enjoyable. Who saysboys have all the fun?

30 SMASH HITS

STARJETS: Shiraleo (Epic). Withbands like Protex, Undertonesand Starjets, Northern Ireland

has good reason to be proud of

its pop exports. A nifty little tune,

tear-inducing harmonies butlacking in depth. Pleasant, but not

the one to put them in the big

time.

FLYS: 16 Down (EMI). Anothergreat band all dressed up to gobut not actually getting there.

Good ideas, good value (4 tracks)

and a good knack for writing

exciting rock/pop songs. All theyneed now is good luck.

10CC: OneTwo Five (Mercury).

lOcc seem to have lost sight of all

their inspiration. This sticky ditty

TOM PFTTV^No

REFUGEE

sounds like an album track fromfive years back. Inoffensive, but

not the stuff to set the turntable

alight.

JUDIETZUKE: Understanding(Rocket). Judie wraps her genteel

vocal chords around a wistful

self-penned little ballad. It's not

as strong as "Stay With Me 'Till

Dawn" and unremarkable on first

hearing, but it merits a fewlistens.

BRASS CONSTRUCTION: Movin'(UA). A re-release that gives the

chance to re-live one of BC'S

finest moments. A jumpingdisco/jazz classic first timearound, it's lost none of its old

sparkle.

LEIF GARRETT: Same Goes ForYou (Scotti Brothers). A sheep in

wolf's clothing, Leif's given disco

the boot in favour of an hilarious

attempt at rebellion. Guitar

dominated dirge featuring Leif

whining with all the ferocity of a

lost kitten. Ignore for your ownsake.

MAGAZINE: Thank You (Falettin

Me Be Mice Elf Agin) (Virgin). If

Howard Devoto stopped putting

out half-hearted hints that

Magazine could be impressive hemight be taken seriously. Instead

this creepy little number's gonnado nothing for his obscurity

problem.

SUGARHILL GANG: Bad News(Sugarhill). Nothing like the

smash "Rappers Delight", this is

a nicely surprising, lilting soul

ballad. Apart from the twee girly

vocals now and then, it's quite

good.

MANHATTAN TRANSFER:Trickle Trickle (Atlantic). After

their jazz outings ManTran havereverted back to straight

Darts-type doo-wop with plenty

of slick and polish. Classy, it

demotes Rocky Sharpe to the

level of candyfloss.

THE SEARCHERS: It's Too Late

(Sire). The Searchers are back in

the land of the living and this

number knocks spots off of mostcurrent releases. Pop with a rich,

glowing capital P, teams with

ability and experience to producea surefire gem. Don't miss it.

PIONEERS/HARRY J. ALLSTARS:Long Shot Kick DeBucket/Liquidator (Trojan). Twooriginal ska classics on onetwelve incher can't be bad— the

only surprise is why Trojan havetaken so long to release them.The originals are far moreseductive than the current

versions kicking around— and"Long Shot" is almostunrecognisable from TheSpecials' version on their live EP.

DEXY'S MIDNIGHT RUNNERS:Gene (EMI). And still it comes!

Yet more from ska's horniest

band in a tribute to GenoWashington. The vocalist has a

bad attack of hiccoughs and it

doesn't match up to the promiseof "Dance Stance". The 'B' side,

"Breaking Down The Walls OfHeartache" sounds rushed.

Vaguely disappointing.

^^^^

FOUR FROM THE SQUARE

LENE LOVICH : What Will I DoWithout You? (Stiff). 6 tracks for

99 pence? T'is true— and it's

better value than the LP. Leneworks her way back to straighter

songs rather than vocal exercises

on the two impressive studio

tracks and the four live tracks

display all sides of her talent to a

T. A marvellous record, it

demands to be huge.

THE HEADBOYS: Kickin TheKans (RSO). After failing with a

good record The Headboys try

their luck with a turkey. It

squawks around for a fewminutes without actually getting

anywhere and doesn't do their

reputation any favours at all.

They don't only come at

Christmas you know . . .

SAD CAFE: My Oh My (RCA).

This, says the sleeve, is a special

tour single, and as far as I'm

concerned it can go as far as it

likes with no tears shed. Anaverage soft rock single, all bark,

little bite, thrashing on about the

devil. Only careful production hassaved its day.

BOOKER T AND MG's: Time is

Tight (Stax). Re-release

that's doubtful to reach the

heights "Green Onions" soaredto — largely because it's morelikely to end up as polite

background music for DJ's

banter than as an attraction in

itself.

TOM PETTY: Refugee (MCA).After a period of silence Petty'sback with a potent release—straightahead rock clinging to atuneful melody. But he's still anacquired taste, and hardly likely

to burst into the top ten with this

one.

CHERIE AND MARIE CURRIE:Messin' With The Boys (Capitol).

Cherie's claim to fame is that sheused to be in The Runaways.Marie's is that she's Cherie'ssister. Both are attractive andthink this is a good enoughreason to become singers—something they can hardlyattempt on the strength of their

lacklustre voices or jaded songs.It plainly isn't.

THE MICE: A Song For Europe(Charly). We're told this lot'll beround with pickaxes if we don'tmention this likeably pop songwhich sails through on the meritsof its melody and with no thanksto the vocals. So that was themention.

MANICURED NOISE: Moscow1980 (Pre). One of several recordsu nder this fashionable title, this is

a forceful instrumentaldominated by a high-steppingsax and driving bass line.

Infinitely playable, it gets betterever time. Not to be missed.

KINKS: You Really Got Me (RK).

60's chartbuster re-activated, if

you don't own a copy it's worthshelling out for one now.

RUSH: Spirit JOf Radio (Mercury).Headbanging stuff with fewer ofRush's usual pretentions tointellectual and divineinspiration. They've almost madea pop song here . . .

THE SCARS: They Came AndTook Her (Pre). Bassy ditty aboutlittle green men taking awaysome chap's wife and himpondering how to save thehuman race. Fascinating . .

.

THE INMATES: Love Got Me(Radar). Rollicking R & B aboutthe perils and pains of love.Pleasing, but minus the snap oftheir last effort. "The Walk", andsubsequently less enjoyable.

Kelly Pike

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ALBUMSSUGARHILL GANG: SugarhillGang (Sugar Hill). Surprise— thisain't such a bad little album. Onlyhalf is this highly overrated"talkover" style— somethingthat soon wears thin without agreat backing track. The rest is apleasant mixture ofstraightforward soft soul balladsand funk, well written andproduced by Sylvia Robinson ofMoments/All Platinum/"PillowTalk" fame. Worth investigating.Includes the full 15 minuteversion of "Rappers Delight". (5out of 10).

Red Starr

BROTHERS JOHNSON: Light UpThe Night (A&M). Pleasant albumof modern, streamlined funk—tight and danceable but notproviding any great surprises orinnovations. Otherwise it's

notable mainly for the excellentproduction by Quincy Jones, thewriting co-credits withHeatwave's talented RodTemperton and a guestappearance by Michael Jackson.If you like "Stomp", you'll like

this. (5 out of 10).

Red Starr

THE FEELIES: Crazy Rhythm(Stiff). A new four piece fromNew Jersey, The Feelies pit theirquirky, gentle songs againstinsistent, hard edged guitarpatterns. It's sometimesimpossible to tell whether thetongue is in the cheek but theyhave the power to really drawyou into their strange little

suburban world. Definitely worthgetting next to. (8 out of 10).

David Hepworth

2Z TOP: Deguello (Warner Bros).Absolutely the finest hard rockband in America present theirfirst album in years and it's apearl. Steady rolling Texan R&Bwith gruff but tuneful vocals andsome of the most satisfying

guitar work you'll catch this orany year. Don't wrap it, I'll wear it

now. (8 out of 10).

David Hepworth

BOB SEGER: Against The Wind(Capitol). Another marvellousAmerican singer and A1

I I

f s

interpreter waltzes perilouslynear the Black Hole of California

Easy Listening. A sadlyinconsistent and awfully tinnyproduction dilutes Seger'ssympathetic delivery. Most of thetime he sounds as if he'd rather

be elsewhere. There aremoments, but scarcely enough ofthem. (5 out of 10).

David Hepworth

JAMES BROWN: Solid Gold(Polydor). We seem to havepassed by this doubleretrospective which, consideringit was put together by Cliff White,Is a terrible sin. What you get is

four sides of music that just hits

and hits and refuses to quit fromthe man who has been In theVanguard of black music for nighon 25 years. The most persuasivedance rhythms this side ofheaven and graced by absolutelyhair-trigger vocalising, recordsbetter than this one are simplynot available. [SVi out of 10).

David Hepworth

BLACKBEARD: I Wah Dub (MoreCut). Humourously subtitled

"Rastanaut", this Is the work of

Matumbi mainman and hottestreggae producer in town, DennisBovell, and shows off his

dubbing skills in fine fashion. Themusic bumps and glides on a

cloud of fat but delicate bassplaying, effects duck In and out of

earshot and something new Is

revealed with every play. Playsloud, plays quiet, plays havocwith your feet. {IVi out of 10).

David Hepworth

COCKNEY REJECTS: GreatestHits Vol One (EMI), it ought to beImpossible to operate musicalInstruments for forty minuteswithout producing any music.Which just shows you shouldnever underestimate The Rejects.

They screech, they rant, they dotheir damndest to wish

themselves back into the year1977. The results could havebeen the work of Benny Hill; aghastly parody of all that wascrass and conservative aboutpunk. Should be very popularwith people who don't like music.(1 out of 10— at least it's round).

David Hepworth

THE CRAMPS: Songs The LordTaught Us (Illegal). If it's

aggression and savage wit you'reafter, then look no further thanthis demented debut set. TheCramps sound like a hauntedjukebox, cranking out voodoorock and roll that fairly rattles

with Intensity. Sometimeshilariously tacky, sometimesfrighteningly vacant, these foursound as weird as they look. Andthey look like nothing on earth.

(7yioutof10).David Hepworth

PSYCHEDELIC FURS:Psychedelic Furs (CBS). Like GaryNuman and Simple Minds theFurs take various obviousInfluences (Velvet Underground,Bowie), weave them togetheradding something of their ownand emerge with somethingindividual and really good. Thisdarkly atmospheric albumcombines a nice raw edge withenergy, melody and some nicejangly guitar and distinctive

hoarse sax. A little thin in places,but mostly highly enjoyable.Definitely a name to watch. (8 outof 10).

Red Starr

STIFF LITTLE FINGERS:Nobody's Heroes (Chrysalis).

Anyone waiting to write off Stiff

Little Fingers simply because oftheir move away from Belfast is

in for a big disappointment.Though sometimes a bit strained— eg their attempts at whitereggae— or merely average,when they've got something like

the utterly superb "Tin Soldiers"(as good as anything they've everdone) to focus their passion,concentrated energy and skills

then there's few to touch them. Agreat, honest little band— morepower to them. (8 out of 10).

Red Starr

SMASH HITS 31

TWENTIETHCENTURY

From recording busstops to nuclear warlove affairs — JohnFoxx is a man of ourtimes. Steve Taylorinvestigates.

GAUNT is the word, as in

smoke-blackened chimneys or

the stark landscape of theindustrial North of England.This is the first aspect of John

Foxx's appearance to strike you

as he wanders into Virgin

Records' modern press office in

clumpy brown boots, black

woolien trousers, black overcoatand scarf, the wliole ensembletopped by a pale, slightly wornface, and that stiffly parted hair.

But later, wandering round to a

nearby hotel for a late breakfast,

the polite and softly spokentones of John's Foxx's voice start

to reveal a different character:

thoughtful, considerate andquietly in control. Gaunt andwarm; somewhere betweenthese opposites is where you'll

find this latest hero of "electronic

pop."

JOHN FOXX (real name DennisLeigh) was brought up in Chorley

in Lancashire. He began his

musical career with the curiousactivity of recording people'sconversations at bus stops,

messing around with the results

on an old-fashioned tape recorderin a way he describes as "verysurreal".

The musical angle came from a

piano which his aunt gave himand from an electric guitar,

although he admits:"I was more interested in the

sound effects I could get fromplaying things backwards, thanin learning to play 'properly'."

He was thrown out of his first

art school in Preston "because I

didn't do any work", then wentto another in Blackpool whichwas "very strange, theclassroom was in a bike shed",and eventually got scholarships

to Manchester and London'sRoyal College of Art on thestrength of his drawings.Once ill the big city he decided

he was fed up with workingalone, so John looked around for

some people to form a band. Healso had a very clear idea abouthow he wanted it to work.

"I sort of organised it, trying toget the musicians who liked theheavy metal, Gary Glitter, folk

and things to play songs like 'I

Want To Be A Machine'.

"It was a bit difficult at first.

One of my friends had a smallfactory in London which used torepair dummies for shopwindows, mannequins, veryrealistic ones. I'd been helpinghim to paint the faces, becauseit's not at all easy. I loved theway he organised people, he wasvery human about it, not at all

the big boss."Every one liked what they

were doing and worked well,

were happy and excited about it.

That was such a change from thefactories I'd worked in up Norththat I decided to try and run theband like that."

That band became Ultravoxl

who slogged their way throughthree albums and three years of

very successful touring only tobe treated with almost universalcontempt in the rock press.

But it was the failure of theband itself to adapt which lead to

John quitting the job of lead

singer and main songwriter at

the end of 1978 after a very

promising American tour,although he had made thedecision earlier that year whenthey were recording their thirdalbum, "Systems Of Romance"in Cologne in Germany.

LOOKING BACK, John isn't bitterabout the way Ultravox weretreated:

"It wasn't fashionable, I think.We did all the angry things—songs like 'MetropolisBreakdown'— a year beforethings like the Pistols' 'AnarchyIn The UK' and The Clash's'London's Burning'. Then we gotinterested in sound and doingthings with feedback etc. andwent into a whole differentarea."

Compared with John's ownplans, such bands were, hethinks, "Much more theconventional side of things,although it seemed as though it

was the other way round,because their campaign of actionand advertising was so wellorganised that it seemedspontaneous."

Ultravox continued to swimagainst the tide, only to break upon the rocks of an internal

breakdown."I ended up still contributing

all the basic material, when I

wanted them to participate;

no-one ever brought a song in forinstance."

John is anxious to point out,however, that he didn't "resenttheir point of view" at all.

When John had finished withhis commitments to Ultravox, hereturned from the States and left

the band."I had a tape recorder, a

synthesiser and went back to thefront room."With a loan from his publishing

company and access to a studioon a record-now, pay-later basis,John spent last year puttingtogether "Metamatic", workingout the basic parts at homebefore going Into a small 8-trackstudio. The album was releasedin late January on his own MetalBeat Label through Virgin.

"I wanted a record label

because the big companiesinvest so much money in you—maybe over £1 00,000 to launch aband nowadays— that they haveto make you a big star to pay it

back. I wanted to avoid thatvicious circle."

He was greatly helped by thecheapness of some of the newsynthesisers which are available:

"Synthesisers used to cost alot of money and be fairly

complex machines, but they'vebecome simpler. That's theinteresting thing about thetechnological changes we'regoing through now."The synthesiser was initially

used to imitate orchestras, whichis rather like trying to makeplastic look like wood. But youfind it has qualities of its own,that you can make almost anysound you want on it; then it

becomes an interesting machinein its own right."

32 SMASH HITS

OUT OF all the different styles ofrock banging shoulders witheach other at present, Foxxthinks synthesiser music is themost interesting of the lot. Hedoesn't, however, like the wayEnglish musicians have takenessentially funny ideas, like theway the German groupKraftwerk presented themselvesas robots and the music asautomated, and taken themseriously.

The human element in John'sown synthesiser music Is veryimportant to him; it's what hetries to get over in hissongwriting and style of singing.He admits that future music will

develop, but not too strangely:"Any change in the instrumentsused changes the music, so I

think we can look forward tosome new forms of music butnot radically new, because I hopethey'll still conform to the idea ofa pop song. I like songs a lot—not light and frothy and silly, justeffective."

John Foxx has every reason tobe confident of his ability to craft

good "pop songs", as theimmediate success of"Underpass" shows. The nextsingle, "No One Driving"— asort of ghost story— is evenmore strong and tuneful.

Yet Foxx was pipped to thepost in selling this area of"electronic pop" to thesingle-buying public out there byGary Numan who— incidentally— has admitted in almost everyinterview that Ultravox, andFoxx in particular, are among hismain influences.

How does John feel aboutthat?

"I was very pleased that theideas I'd put out weren't beingwasted," he replies, "and that I

hadn't wasted my time. I've

always been interested in ideasmore than anything else."

John's "ideas" can sometimesseem a little eerie— when he'stalking about the period when hetried to live "like a machine", forexample, and have no feelings.He readily admits that it didn'twork but then gets into equallystrange territory by explaininghow he wrote an Ultravox song,"Hiroshima Mon Amour", aboutfalling in love with the idea of anuclear war!

BUTALTHOUGH John will

willingly talk for hours about awhole world of feelings andperceptions which most of uswould prefer to ignore, JohnFoxx's real strength is thesoundness of his practical ideas.

After the success of

"Metamatic," he's toying withplans to tour the country playingin municipal theatres with videosof the audience projected ontoan enormous screen behind theband.

"I do love that feeling that youget on stage", he saysenthusiastically, "It's the onlytime in my work that I receivesomething back."

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SMASH HITS 33

AFTER READING the letter fromS. Jones (issue Feb. 21 ), I wannaknow— since when doeseveryone listen to the John Peel

show? So how could the Festive

Fifty have been a fair andaccurate vote if not everyonelistens to it and therefore not

everyone Icnew about it?

The reason Lena Martell got to

No. 1 was because it was boughtby enough people who thought it

was good— mainly the older

generation, whereas the youngerpeople are represented byrecords from artists such as ThePolice and The Boomtown Rats.

So again the question arises,

how come The Clash haven't hada No. 1 hit? The answer is simple— they haven't got enough fans,

and they're just not goodenough, that's why.Tracey McLaughlin, Leicester.

WHAT A stiff Steve Jones fromCheshire is. Crass, the numberone punl(band of today, were not

singing about shaved women, it

was the degradation of womenthey were hitting bacl( at.

Sure I liked The Clash and ThePistols (in 1977) butthis is 19801

Most hardcore punks know that

bands like Crass and Fatal

Microbes are the saviours of

punk. Other bands such as TheRuts and UK Subs are just rip off

artists.

Leeds United Fan, Yorkshire.

DEAR DAVE ROOM,After reading your letter I was

fuming. Before you start picking

on The Police you ought to get

your facts right. You say TheClash have stuck to the musicthey believe in and The Police

record any rubbish that sells.

Well, I'm afraid you've got

everything the opposite wayround! The Clash are punkbandwagon jumpers! ! They hadit too easy. They didn't have to

fight to get where they are today.

When Stewart Copeland asked

Sting down to London, he had noproper place to stay. The bandwas really desperate for work.

Sting had an offer from Billy

Ocean which he was thinking

very seriously of taking becausehe had a wife and kid to feed.

Stewart Copeland talked Sting

into staying because he knewthey were a good team. And how

34 SMASH HITS

right he was!Sorry, kid, you can't win them

all. And you'll see when TheClash are dead and buried while

The Police are still going evenstronger.

Dedicated Police Fan, Sheffield.

I AM writing to complain aboutthe senseless arguments that goon in the letters page. Peoplewrite in to argue about JoeStrummer and Sting etc. etc. Whydo they do this? Can people not

have opinions any more? What is

wrong with agreeing to differ?

Or do these morons think that

they will influence everybodyinto buying Police or Clash LP's?

If these creeps had any cop-on,

they would realise they are only

acting the goat by arguing. Sogive up and write constructive

letters.

An Irritated Dublin Reader.

MY FANATICAL Congrats are

extended to Fred Dellar on aninfallible interview with TrevorHorn and Geoff Downes (and

about time too, I might add).

More Buggies in future, please.

Might I add that the statementby The Buggies concerning JohnFoxx is spot on the button. I'm upto my bi-focals in morbid,unexciting bull. OK, The Buggies

deal with the future but at least

it's lively, exciting and inspiring

music and not relying totally onsynthesiser and a uniform,

monotonous voice.

Fanatical Buggies Fan, Sheffield.

WHEN I tuned in to Radio One's"Rock On" show a couple of

weeks back, I was surprised to

hear Tommy Vance (he of the

worst musical taste known to

mankind) introducing DavidHepworth. Hepworth then

proceeded to spout a load of old

rubbish about how boring

synthesisers can be in the handsof the wrong people.

The point is, Hepworth is right

but the same applies to every

other instrument known to

mankind. If you don't believe me,take a listen to a Carl Palmerdrum solo or a Ritchie Blackmoredrum solo.

Dave Stamp, Reading.

TO ALL you Sid Vicious lovers

and haters.

MY SISTER and I recently heard a

record which we thought wasreally great! The trouble is,

nobody else in radio land seemsto think so as we never heard the

record again.

Anyway, we think the record

was called "My face still looks the

same to me" by HenrySomething-or-other. We werewondering if this could havebeen Henry Padovani, ex-memberof The Police? We'd be very

grateful if you could solve this

little mystery and print a picture

of this wonderful vocalist,

whoever he may be.

The Snoopy Sisters.

Well, girls, here's the face In

question and it belongs to HenryBadowskI— no relation to

Padovani. Henry (21) comes fromKingston on Thames (where heprefers to record at home) andhas done stints with Chelsea,

Wreckless Eric and Captain

Sensible in the past. "My Face" Is

his second single, the first being

"Baby Sign Here With IVIe" whichappeared on the independentDeptford Fun City label before

being taken up by A&M, whoalso release "My Face". We think

the man's going to be a star.

At a rough guess, we'd say that

none of you boring twanks knewSid well enough to say whetherhe was a "useless moron" or a

wonderful human being. So shut

your meaningless traps and let

the poor sod rest in peace.

Instead you can aim yourcriticisms at the leeches who are

making money out of his death.

While we're putting typewriter

keys to paper, we would like to

say that we're fed up with people

saying that so and so is taking off

so and so. If it's good music, whatthe hell does it matter who it's

by?The Puke Sisters.

I AM considering having surgery

to become a Mod. I have heard

that this drastic operation is

pretty risky and that the chancesof survival are only about 50/50.

Please can you tell me if it will bepainful?

Devoted Punk, Abingdon, Oxon.

P.S. This letter is not one of

contempt for Mods who, as far as

I'm concerned, can have their

place in this world, but for the

attitude of so many of those whowere punks a couple of weeks

ago and became Mods becauseeveryone else was doing the

same.

I AM sick of seeing Mods at

school and hearing them say that

The Specials are Mods. What a

load of rubbish! The Specials

themselves have said they play

music for all types of musiclovers. They play a mixture of

Jamaican bluebeat and ska—nothing like Secret Affair etc. Soplease get this into your heads.

Mods.David Hyde (Punk and Specials

fan). West Bridgford, Notts.

MODS, RUDE Boys, Teds, Punks— what next? (Taken fromconversation between GladysArbuckle and Gertrude Smith

across the garden wall.) In myopinion, it doesn't matter— as

long as you feel good and youenjoy your teenage years. Longlive all fashions of music!

The Neutral Pupil of BayhouseSchool, Lee on the Solent, Hants.

P.S. Hissing Sid is definitely

guilty.

ON THE Smash Hits Calendar it

said that Anna-Frid Fredriksson '**^«1

»

I

said that Anna-Frid Fredriksson

of Abba's birthday was 10November 1945, but in the AbbaAnnual 1980 it said she was bornon November 15. Which is

correct?

Sinton Runcorn, Harwood, Lanes.

According to Epic, Abba's record

label In Britain, November 15 Is

correct. Booboo no 2 comingup...

I SENT off for your fab calendar

but as I looked closer, I saw that

you had missed out Billy Idol's

birthday. What has he done to

you to make you miss him out?

I don't want to stoop so low as

to threaten you, but If you ignore

this letter then I shall come andchuck my granny's wheelchairthrough your window (Grannyand all).

Billy Idol's No 1 fan, Plumstead,London.

Sorry about that — Mr WilliamBroad's birthday Is November 30.

Happy now?

I AM personally fanatical aboutBruce Foxton. Is he married? If

so, what is his wife allergic to?

Angry of Mayfair's Wife,

Guildford, Surrey.

JUST A short note to ask if

Suggs, the lead singer in

Madness, is married? If he isn't,

will you ask him if he's got a

girlfriend 'cos I'm not going outwith anyone at the moment (hint,

hint!).

A great Madness fan, Billingham.

No, Bruce Foxton isn't married,though he definitely has a

girlfriend. Same goes for Suggs,I'm afraid. Actually his girlfriend

of well over a year now is noneother than Bette Bright! And theMadness/Deaf Schoolconnection doesn't stop thereeither. It seems Suggs used to goto school with Olive Langer (whoproduced the Madness album)and Lea Thompson played sax onBette Bright's new single. Justlike Soap, Isn't it?

DEAR FRANCES SUMNER, KATESUMMERS AND SONJAKRISTINA,After seeing 'The British Rock

And Pop Awards" on TV theother night, I'm sure that younoticed how your husbands andfianc^ were surrounded by HongKong girls. I was thereforewondering if you were looking toget rid of these two-timingcreeps? If so, we would be glad to

take them in. Please send yourcontributions to:

The Unwanted Policemen'sSociety, Lisburn, N. Ireland.

I'M ONLY writing this to see myname in print.

Anon, Poplar, London.

-^Ztl^j.

And now over to the vital

political questions that theyoung people of today are

asking . .

.

IS CAPTAIN Beaky Timid Toad'slover? Can Artful Owl really

decipher morse code? Was it

really raining? Did Timid Toad try

to commit suicide? Was CaptainBeaky blind or did he run into thetree on purpose? Is Reckless Rat's

real name Gay Gordon?Wally, Bona, Paint and Nell, TheHissing Sid Is InnocentCampaign, Sheffield, Walsall

MARY HAD a little lamb. Sting's

bleaching peroxide. Bob Geldof's

comb, Debbie Harry's face pack,

Jo Jackson's lost hair, JohnnyRamone's right knee patch, GaryNuman's missing height, Klark

Kent's identity and the matchingthumb for Stiff Little Fingers.

Babs, a padded cell, Bedford.

MARY HAD a little lamb. Sting's

autograph, Joe Jackson'searring, Debbie Harry's birth

certificate, a photo of GaryNuman smiling, and AndySummers' lett red and white sock— and she swapped them all for

Madness' drummer DanWoodgate.Helen (who likes Madness,Starjets and Sid Vicious),

Bedlington, Northumberland.

WHOSE IDEA was it to start this

'Mary had a little lamb' business?Mary, West Drayton.

P.S. I haven't got a little lamb—will a daft hamster do?

WE ARE both Madness fans andon February 16 we and two otherfriends caught a train to Londonto see our favourite group at theunder 16's concert.

When we got off the train, twoother friends were chased by avast mob of skinheads. While wewere looking for them, we weremugged in a subway and ourtickets taken. While we were in

the Police station, people werebeing brought in with their tickets

stolen and some had even beenbeaten up.

It was very frightening, ascoming from the country wenever expected anything like this.

We were absolutely disgusted, asgirls as well as boys werebullying people into giving themtheir tickets. We were very upset,

as we know we will never have a

chance to see Madness now.Please print this as it was an

experimental concert andMadness wanted to know whattheir fans thought.Carmen and Sally, Evesham,Worces.

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BONDAGE TIES WITH "D" RINGS & STRAPS £1.90

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SEX PISTOLS BELT BUCKLES £1 90, complete with

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OISSETTE

SMASH HITS 35

Tonight I'mAlHfhtby Narada

Michael Walden on Atlantic Records**

Tonight I'm alriflht

Tonight I'm alriflht

Tonight I'm alright

Tonight I'm alright

Se.?Xing'sbren said and done

?„TwTnKo and have vourfun

You need to know, babv

Youcantakeaholidav

But you C-" "-7,- raWr^^'^tI know everythmg s gonn

Said I'm gonna rock on

Tonight I'm alright

Tonight I'm alright

Repeat to finish

words and music t^yNsrsds Michael

Teprlducedhy permission of Warner

Bros Music Ltd

Working My Way Back To You ..:^0*J

By The Detroit Spinners on Atlantic Records

ChorusI'll keep working mywaybf^ to you, babeWith a burning love insrde

'

Yeah, I'm working my way ba<^to you babeAnd the happiness that diedI let it get awayThen paying everyday

Whan youwe»so in love withI played wround like Iwas freeTliought I could have my cake andBut how I cried over losing youS«e I'm down and outAnd I ain't about to go livtng my We without you

Hey everyday.

ri, but you're too proud,u won't give in

len I think J***bdiit all that waswhen

aggat chorus

giri

tttedayrdie

Repeat chorus

I used to love to make you cryIt made me feel like a man inside

if I had been a man in reality

You'd be here, baby, loving meNow my nights are long and lonely

And I ain't too proud, babe, I just miss you so

Babe) My world is kinda lonejust gotta get back home (you bab*}

really sorryr acting that wayreally sorry

Ooh, little gill |, ^.

fm really sorryFor telling you lies

For so long, oh please

Forgive me girl, come on (give me a chance)Vl^'t you forgive me girl, hey (let's have romance)OM/forgive me girl (let's start again)Come on forgive me girl

Iwant you over and over and over and over again

to fade

J^ml4c Sfs. Linzer aryd D. Randell'^f^mtlaced by permission ofArdmore and

'eechwood/EMI Music

SMASH HITS 37

Ramember to

check locally

before setting

out in case

of late

cancellations.

Friday March 21Stiff Littia Fingers Cambridge Corn ExchangeEddie and The Hot Rods Aberystwytii University

Rose Royce Soutiiampton GaumontRuts and The Cramps London Electric BallroomMatchbox Sheffield University

Judas Priest Newcastle MayfairSad Cafe Newcastle City HIall

Siouxsie & The Banshees Stirling University

UB 40 Newport The Village

Psychedelic Furs Manchester Russell Club

Saturday March 22Stiff Little Fingers Southampton GaumontEddie and The Hot Rods Sheffield Polytechnic

Elvis Costello West Calder Regal Suite

UB 40 and The Cramps Derby AjantaMatchbox Leicester Polytechnic

The Selecter London Lewisham Odeon

Sunday March 23Judas Priest Deeslde Leisure Centre

Stiff Little Fingers London Hammersmith OdeonElvis Costello Dunfermline KinemaSad Cafe Glasgow ApolloMatchbox Slough Alexandra's

Rose Royce Bristol Colston hiall

Eddie and The Hot Rods Redcar Coatham BowlRuts Bristol LocarnoSiouxsie& The Banshees Aberdeen Music hia 1

1

Lambrettas Huddersfield Coach Kiouse

Psychedelic Furs London Lyceum

Monday March 24Stiff Little Fingers Bradford St Georges Hall

Elvis Costello Ayr Pavilion

Sad Cafe Edinburgh Usher hiall

Rose Royce Brighton Top RankSiouxsie & The Banshees Edinburgh Tiffany's

Purple Hearts London MarqueeLambrettas Doncaster Rotters

Tuesday March 25Judas Priest Stoke Trentham GardensStiff Little Fingers Cleethorpes Winter GardensElvis Costello Carlisle Market hiall

Sad Cafe Hull City Hall

Siouxsie & The Banshees Glasgow Tiffany's

Rose Royce Sheffield City Hall

Purple Hearts London Marquee

Wednesday March 26Judas Priest Birmingham OdeonStiff Little Fingers Wakefield Community Hall

Genesis Bournemouth Winter GardensSad Cafe Preston Guildhall

Thursday March 27Judas Priest Birmingham OdeonElvis Costello Stafford Stychfield Hall

Genesis London Hammersmith OdeonWar/Blood, Sweat & Tears Portsmouth Guildhall

Stiff Little Fingers Carlisle Market Hall

Sad Cafe Oxford New Theatre

Rose Royce Edinburgh OdeonSiouxsie & The Banshees London Music MachineWhirlwind London College of Printing

Friday March 28Stiff Little Fingers Edinburgh OdeonElvis Costello Leamington Spa Pavilion

Genesis London Hammersmith OdeonWar/Blood, Sweat & Tears London RainbowSad Cafe Birmingham OdeonRose Royce Glasgow Apollo

Siouxsie & The Banshees London Music Machine

Saturday March 29Stiff Little Fingers Aberdeen Capitol

Elvis Costello Swindon Oasis Centre

Genesis London Hammersmith OdeonWar/Blood, Sweat & Tears London RainbowSad Cafe Cambridge Corn ExchangeUB 40 Retford PorterhouseShowaddywaddy Middlesbrough Town Hall

Sunday March 30Stiff Little Fingers Glasgow Apollo

Elvis Costello Yeovil Johnson Hall

Gerry Rafferty Leicester De Montford Hall

Sad Cafe Croydon Fairfield Hall

Billy Joel London Wembley ArenaRose Royce Bradford St GeorgesUB 40 Wolverhampton Lafayette

Showaddywaddy Aberdeen Capitol

Monday March 31Elvis Costello St Austell New Cornish Riviera

Genesis Oxford New Theatre

Billy Joel London Wembley ArenaGerry Rafferty Swansea Brangwyn Hall

Rose Royce Manchester Apollo

Showaddywaddy Edinburgh Usher Hall

Whirlwind and John Cooper Clark London Venue

Tuesday April 1

Genesis Ipswich GaumontSad Cafe London Hammersmith OdeonRose Royce Birmingham OdeonElvis Costello Nottingham Sherwood RoomsShowaddywaddy Glasgow Apollo

Wednesday April 2Genesis Great Yarmouth ABCWar/Blood, Sweat & Tears Glasgow Apollo

Gerry Rafferty Belfast Whitia Hall

Sad Cafe Ipswich GaumontThin Lizzy Galway Leisureland

Billy Joel Deeside Leisure Centre

Rose Royce London Hammersmith Odeon

Thursday April 3Genesis Peterborough ABCGerry Rafferty Dublin Royal StadiumThin Lizzy Bundoran Astoria

Stranglers London Rainbow .^_,

Rose Royce London Hammersmith OdeonSad Cafe Coventry Theatre

(0

S

3

io

is

^11 STRAIGHT

HAR38 SMASH HITS

' PAIABll TO aiflP U»»S|^^^^^^

T^^fTV'nn'cJKfi^a^ling HillGateLondonWll- 229 4919

SKAAnarchyUK SubsBlondie

SLFModsLambrettas

8 999

9 Destroy

10 The Who11 The Jam12 Police

13 Ramones

14 Clash

15 Ruts

16 Specials

17 Sham 69

18 Tube Army19 Numan20 Secret Affair

21 Undertones22 Kiss

23 Nutty

24 Rockabilly

25 Merton Parkas

26 Madness27 Teenbeats28 Status Quo29 Rock'n'Roll

30 Joe Jackson31 Quadrophenia32 Selecter

33 Gangsters34 Punks35 Abba36 Pretenders

37 Sid Vicious

ONLY

38 Queen39 Elvis

40 Rainbow41 Beatles

42 Stranglers

43 The Beat44 Sex Pistols

45 Cheap Trick

46 Pl.L47 Skids

48 Siouxsie

49 Boomtown Rats

50 Piss Off

All ties black or blue print on white polyurethane strip style tie.

Gary Numan red and blue leather look ties £4.75 Real leather £8.50 + SAE.MONEY BACK GUARANTEE Send mony + SAE to

BENTSLEATHER (SHT)45 Church Lane, Whitwick, Coalville, Leics.

Lyrics to the SMASH HITS freebiePresented to the nation (but mainly to faithful "Smash Hits" readers)by Virgin Records and "Smash Hits" in the interests of hot music and abetter way of life.

Ten Feet Tallby XTC on Virgin Records

Happy I'm "«"* "8 nowAround on my feet now

You make me go dizzy

I'm weak at the knees

S!;,°Tfeenil«e I'm walking

Round ten feet tall

1 1 feel like I'm walking

I Round ten feet tall

Well you say I'm faking

And I say do"'*^"!?-Tha wav that I bubbleiK'somethlnglnthamak.

Repeat chorus

Right, the chemlstrv !• 'H»M

This boy has reached his »'•••'»

ThU feeling just goes on and on

and on .

From strength to strength

I'm ten feet long

I feel like I'm walking

Round ten feet tall

I feel like I'm walking

Round ten feet tall

I feel like I'm walking

Round ten feet tall

I feel like I'm walking

Round ten feet tall

Repeat 3rd verse

Yeh, happy I'm floating

Around on my feet now

You make me go dizzy

I'm weak at the knees

Yes, I feel, I feel, I feel, I

1 feel — ten feet ta

I feel — ten feet tall

1 feel — ten feet tall

I feel — ten feet tall

I feel like I'm walking

Round ten feet tall

Repeat to fade

words and rvusict^y Conn MouJilmg

Reproduced by P^""'!?'?"°'

Virgin Music (Publishers) Ltd

feel

[^rr-'-'-^'^S'-Say ' "" "•nk

'^^Pl-oducedby^^,^. °'""'''^'^<i Stuart

'<^hersurr''""'--n of Virgin Music

FREE BADGES SHOCK-HORROR PROBE!!

V?K4|^^M/S^

fOUCEf^^aes shown large,man actual size

WELL, HERE IT IS: the next biggiveaway from Britain's mostgenerous music magazine. Therewas such a big demand for ourlast set of badges that we decidedto have another exclusive setmade especially for you. Createdby Steve and Andy, our uniquelytalented designers (well, that'sthe only way to describe themreally), there are five in this set,

that is; THE POLICE, GARYNUMAN, THE CLASH, THESPECIALS and THE JAM.One of these badges will be

attached to the cover of the nextissue of Smash Hits and is,

needless to say, completely free.And the goodies don't stop

there. There'll be another chanceto win a MINI-TV with thecrossword puzzle; STIFF LITTLEFINGERS will be occupying thecentrespread, and there'll be anexclusive interview with GARYNUMAN. All this and more in ournext issue! But once again wefeel we should point out that withall these freebies and goodies,there will be more people thanusual looking for Smash Hits in

the shops. So make sure youaren't the disappointed onelooking at the empty shelf— nipdown to your local newsagentstoday and get them to place you aregular order right away. Andremember. . .

FREE BADGES ISSUEON SALE APRIL 3

SMASH HITS 39